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A MANUAL FOR TEACHERS 



TO ACCOMPANY 

"JOURNEYS THROUGH BOOKLAND" 



BY 

CHARLES H. SYLVESTER 



BELLOWS-REEVE CO. 

CHICAGO 






Copyright, 1911, by 
CHAELES H. SYLVESTER 



f/ 



©CI.A2939G0 



PREFACE 

Journeys Through Bookland was prepared 
for boys and girls in their homes. The studies, 
comments and helps were written for children 
and their parents. Nearly all the material is ex- 
cellent for the use of teachers, and they early dis- 
covered its value. In fact, the teachers have been 
so insistent in asking for the set that it seemed 
wise to the author to write a manual for their 
exclusive use. The present book is the result of 
his efforts in that direction. 

He has adapted all that was in Journeys to 
the schoolroom, has added a great many sugges- 
tions in methods and has correlated the whole 
mass of literature so that it is available for ready 
use in the classes where it is wanted. 

By seeing and using in the school the same 
methods that are best in the home, the two great 
institutions, the home and the school, are brought 
nearer together and helped to work in unison for 
the good of the children. To bring parents and 
teacher together on common ground is a thing 
which all desire. May Journeys Through 
Bookland help in the consummation of that 
wish ! 

The Manual is a plain, straightforward, busi- 
ness-like book — a thing to be kept by one's side 
and used constantly. That it may be so treated 
is the earnest wish of the author. 

Charles H. Sylvester. 

Chicago, 1911. 



ANALYTICAL TABLE OF CONTENTS 



Page 

TALKS WITH TEACHEES 1 

I. Beading Stories 3 

The Hare and the Tortoise 6 

The Fox and the Crow 8 

Beth Gelert 15 

The Passing of Arthur 17 

II. Close Beading 18 

Industry and Sloth 19 

From The Death of Caesar 21 

Two Phases of the Subject 24 

III. Poetry 26 

The First Snowfall -. 26 

The Forsaken Merman 31 

The Petrified Fern 38 

IV. Pictures and Their Use 43 

TaJce Warning 43 

We Examined Our Treasure 45 

V. Story Telling 49 

Herve Biel 54 

VI. Memorizing 61 

One Hundred Choice Quotations 61 

VII. Supplementary Book Lists 75 

VIII. Contents and Plan of ' ' Journeys " 76 

" JOUBNEYS" IN THE CLASSEOOM 77 

Introduction 79 

Beading 80 

I. Nursery Ehymes 80 

Hidden Significance 81 

II. Ehymes Teaching Facts 82 

III. Kindness to Animals 83 

IV. Philosophical and Moral Ehymes 83 

V. Maternal Care 84 

VI. Pure Fun 85 

VII. ' ' Counting Out ' ' Ehymes 86 

VIII. Critical Studies 86 

IX. Practical Value 86 

II. LANGUAGE 88 

A. Oral Lessons 90 

Classified Selections 93 

The Wind and the Sun 96 

B. Written Language 99 

I. Introduction 99 

II. Literature in Written Language Work. 102 



vi Contexts 



Page 

A. Narration 103 

Bobin Hood 104 

B. Description 105 

Sir Galahad 106 

Journey to the Metropolis 106 

Children's Books of the Past 107 

The King of the Golden Biver 107 

On the Beceipt of My Mother's Picture 108 

C. Exposition 109 

Martin Pelaez 110 

D. Argument Ill 

The Boston Massacre Ill 

E. Conclusion 117 

An Exciting Canoe Bace 118 

Classified Selections 120 

A. For Narration 120 

B. For Description 120 

C. For Exposition 121 

D. For Argument 121 

III. Nature Study 123 

First. Broadening Nature Study 124 

A. Seven Long Selections 124 

1. Tom, the Water Baby 124 

2. Bobinson Crusoe 125 

3. Swiss Family Bobinson 125 

4. Brute Neighbors 126 

5. The Pond in Winter 127 

6. Winter Animals 127 

7. Ants and Trees That Help Each Other. 128 

B. Classified Selections 129 

I. Flowers and Plant Life 129 

II. Birds 131 

III. Four-footed Animals , 132 

IV. Eeptiles 134 

V. Insects 135 

VI. Denizens of the Water 135 

VII. Natural Phenomena 136 

VILT. Geographical 137 

Second. Nature- allusions in Literatue .137 

The King of the Golden Biver 138 

IV. Geography and History 145 

I. Classified Selections 145 

1. Largely Geographical , . . 146 

a. Juvenile Poems 146 

b. European 146 

c. Fanciful Legends ; 147 

d. Japan and India 147 

e. Longitude 147 

f . Plants 147 

g. Animal Life 147 

h. Natural Phenomena 147 

2. Indians and Their Habits 148 



Contents vii 



Page 

3. Biography 148 

a. Authors 148 

b. Biblical Characters 149 

c. JEsop 149 

d. English History 149 

e. American History 149 

f . Koman History 149 

4. Myths From Several Sources 149 

a. Grecian and Eoman 149 

b. Northern Europe 150 

c. Miscellaneous 150 

5. Legendary Heroes 150 

a. Scandinavian 150 

b. German 150 

c. English 150 

d. French 151 

e. Spanish 151 

f . Greek 151 

g. Eoman 151 

6. Historical Selctions 151 

a. Northern Europe 151 

b. France and Napoleon 151 

c. Classic Lands 151 

d. British Isles 152 

e. United States 152 

f . American 153 

II. Suggestions in Method 153 

1. Elementary Lessons 153 

The Wind 156 

Alfred the Great 159 

2. Formal Lessons in History 163 

Burgoyne 's Campaign 165 

Character Building 171 

I. Influence of Beading 171 

II. The Teacher's Responsibility 173 

III. The Function of ' ' Journeys ' ' 174 

A. Classified Selections — 

1. Wisdom, etc 175 

2. Little Things 176 

3. Promptness, etc 176 

4. Independence and Equality 176 

5. Courage, etc 176 

6. Conceit 177 

7. Flattery 177 

B. Emotional Factors 177 

1. Home and Family 178 

2. Honesty and Truthfulness 179 

3. Friendliness and Charity 179 

4. Generosity 180 

5. Kindness to Animals 180 

6. Patience and Gentleness 181 

7. Faithfulness 181 



viii Contents 



Page 

8. Envy and Covetousness 181 

9. Contentment etc 181 

C. Patriotism and Devotion 181 

2. Devout Poems 182 

1. Patriotism 182 

VI. ' * Journeys ' ' in the High School 183 

A. Classification of Studies in Journeys 184 

I. In Character 184 

II. In Plot 184 

III. In Description 184 

IV. Method of Analysis 185 

V. General Studies 185 

VI. Ehyme, Meter and Melody 185 

VII. Various Interpretations 185 

VIII. Biographical Sketches 186 

B. Topics for Study 187 

I. Ballads 188 

II. Essays 188 

III. Fables 189 

IV. Fairy Lore and Folk Lore. 189 

V. Fiction 190 

VI. Legendary Heroes 190 

VII. Lyrics 192 

VIII. Myths 192 

IX. Don Quixote 192 

X. Odes 192 

XL Poetry 192 

XII. Wit and Humor 192 

VII. Special Days in School 193 

I. Bird Day 194 

II. Memorial Day 194 

III. Christmas 195 

IV. Birthdays 195 

V. Dramatization 195 

VI. An Old-fashioned Afternoon 197 



TALKS WITH TEACHERS 



I. READING STORIES 
(Volume X, page 331) 

No part of the section known as Talks with 
Parents in Journeys Through Bookland is 
without interest to teachers ; all of it is extremely 
valuable. However, some explanation may be 
helpful and much can be added that will assist 
in conducting reading lessons. We will follow 
the order of the Talks in this section of the 
Manual. 

Read carefully pages 331-337. The principles 
given on page 336 are those which every teacher 
should know, for they are the justification of 
story-reading; it is only when read for such pur- 
poses that fiction is valuable. 

In the tabulation on page 329, under the head 
of The Study of the Story, are given the points 
to be made in the reading class, whenever a story 
justifies the use of all. They are worth repeating 
here: 

The Study of the Story: 

a. The Plot. 

b. The Persons. 

c. The Scene of the Story. 

d. The Author's Purpose and the Lesson. 

e. The Author's Method and Style. 
/. The Emotions. 

3 



4 Reading Stories 

It is evident that a> b, c, will interest children 
of all ages; that all will be benefited by the "les- 
son" of a story, if it be judiciously presented; 
but that only the older children will be much 
interested in d, e and /. 

The several topics above given are elaborated 
in the tenth volume. The method of the study 
of the plot begins at A (Page 338) . It is illus- 
trated with an outline of the plot of Cinderella, 
from Volume I, page 231, and then on page 346 
of Volume X is given a list of other stories whose 
plots are worked out in the several volumes of 
Journeys Through Bookland. 

In a similar manner and with similar lists, the 
other topics in Volume X are explained, viz : B, 
The Persons (page 346) ; C, The Scene of the 
Story (page 352) ; D, The Authors Purpose 
and the Lesson (page 359) ; E, The Author's 
Method and Style (page 363) ; F, The Emo- 
tions (page 366) . 

In the references given above the teacher will 
find sufficient explanation to give a thorough un- 
derstanding of this method of teaching reading 
— that is, of teaching literature. No particular 
care is given to oral expression in this method, 
but expression will improve as understanding 
grows and appreciation and sympathy are 
aroused. Oral reading is necessary, but assist- 
ance in teaching it must be found elsewhere. 

To make this method even clearer and to col- 
lect and classify the facts more systematically, 
we will give below a few outlines for the com- 
plete study of stories. In the volumes of Jour- 



Reading Stories 5 

NEYSj intended as they were, primarily for read- 
ing by children, it was not thought wise to make 
the studies too extensive, or to attach too much 
comment to the selections, lest the young reader 
weary of his task or neglect it entirely. With 
the teacher, however, the case is different. 

To teach properly, the teacher must not only 
know her subject thoroughly, but she must use 
judgment in selecting the time to present it, in 
the choice of methods to use, and in determining 
how much to give to any class. The age of pu- 
pils, their advancement, the influence of home 
surroundings upon them, their sex, and the school 
equipment are some of the miscellaneous factors 
that enter into the decisions of the wide-awake 
teacher. A good general principle to follow is 
to present to the pupils only so much as will 
hold their interest ; present it in the manner that 
will best retain their interest, and change the 
subject or the method when interest flags. 

Speaking in general terms, pupils are most 
interested in that of which they already know 
something, and prefer to study intensively some- 
thing which is "easy to read." The familiar se- 
lections of old readers often are found to be alive 
with interest, if studied by a new method. A 
method is understood most easily when it is ap- 
plied to a simple subject; in this case, to a story 
in which the youngest children will be interested. 
A word of caution may be worth while: Espe- 
cially, with young children, "Do not let the 
method be seen; it is the story that is to be 
brought out." 



6 Reading Stories 

The Hare and the Tortoise 
(Volume I, page 68) 

A. The Plot The slow Tortoise and the 
speedy Hare ran a race. The Hare, full of con- 
ceit, loitered and slept by the way, while the Tor- 
toise won in his plodding fashion. 

Incidents : 

1. The Hare derides the Tortoise. 

2. The Tortoise challenges the Hare. 

3. The Fox becomes judge and holds the 

stakes. 

4. The race begins in heat and dust. 

5. The Hare takes a rest and a nap. 

6. The Tortoise in comfort passes the 

Hare. 

7. The Hare awakes, thinks the Tortoise 
behind, and stops to eat. 

8. The Hare discovers that the Tortoise 

has passed and begins his pursuit. 

9. The Hare finds the Tortoise at the 

brook. 
10. The Fox awards the money to the Tor- 
toise. 

B. The Persons. There are three characters 
in the story: the Hare, the Tortoise and the Fox. 

1. The Hare. He is a tall, long-legged ani- 
mal, who can leap long distances and run like 
the wind. In character he is unkind, impudent, 
proud and lazy. 

2. The Tortoise. He is a clumsy, short- 
legged turtle, who carries a heavy box-shell 



Reading Stories 7 

around his body. He cannot jump at all, and he 
moves very slowly, flat on the ground, even his 
tail dragging in the dust. But he is wise, steady, 
not easily discouraged, and sticks to his task till 
it is done. 

3. The Fox. He is a wise old judge, who 
cannot let the loser go without a word of advice. 

C. The Scene. The race takes place along 
a dusty road on a hot day. There is a big clover 
patch, where the Hare rests, and at the end of 
the course is a cool and delightful brook or river. 

D. The Author's Purpose and the Lesson. 
The author of this old fable intended to teach 
the lesson that he puts into the last sentence, 
"Steady-going wins the race." 

E. The Authors Method and Style. His 
method is to teach a truth by means of an inter- 
esting story. His style is graphic and dramatic. 
He gives three animals the power to talk, and 
he makes them talk so that they seem almost like 
real human beings. At any rate, he makes us 
see the character of each very clearly. 

F. Emotions. We see in the Hare the feel- 
ings of conceit, contempt, and laziness; of sur- 
prise, fear, and excitement; of chagrin and dis- 
appointment. In the Tortoise we see a little of 
resentment and some self-confidence; then cour- 
age, determination, and persistence ; at last, calm 
enjoyment and joy at winning. The Fox looks 
on as we do, and has confidence in the Tortoise 
and a little spice of contempt for the Hare. Then 
he is pleased that the Tortoise should win, and 
enjoys giving the Hare a stinging bit of advice. 



8 Reading Stories 

G. Conclusion. It is because the little fable 
has so much in it that it has lived for centuries, 
and you have only to speak to any cultivated 
person about the Hare and the Tortoise to re- 
mind him that "Steady-going wins the race." 

The preceding analysis shows what a teacher 
should expect to bring out from a little class, 
reading the fable for the first time, or from a 
high-school class making a careful study of fa- 
bles. In both cases, however, the facts should 
be brought out by questions, with the expecta- 
tion that the juveniles would not express them- 
selves in anything like the words given above. 

The Food and the Crow 
(Volume I, page 60) 

The following analysis of The Fox and the 
Crow shows the method as it might appear in 
actual use with a class of small pupils. It should 
be remembered, however, that no two teachers 
will ask the same questions and that no two pu- 
pils will answer them in the same manner. Bring 
out the thoughts and keep the pupils interested 
while it is being done. Rapid, clear-cut ques- 
tions which do not suggest the answer are the 
kind to use. Whenever there is hesitation or 
doubt, refer to the story. The story, \Aus the 
pupil's imagination and reason, must give the 
answers. If other facts are needed, the teacher 
should supply them or show where they may be 
learned. 

A. The Plot. 



Reading Stories 9 

Teacher. What was the first thing that hap- 
pened in this little story ? 

Pupil. The Fox saw a Crow fly off with a 
piece of cheese in its mouth. 

T. What next? 

P. The Crow lit on a branch of a tree. 

T. Next? 

P. The Fox made up his mind to get the 
cheese. 

T. What did he do then? 

P. He walked to the foot of the tree. 

T. What next did he do? 

P. He flattered the Crow and asked her to 
sing. 

T. What did the Crow do? 

P. She cawed and dropped the cheese. 

T. What did the Fox do? 

P. He snapped up the cheese and ran off. 

T. Did he do anything more? 

P. Yes. He gave the Crow some advice. 

T. Now tell me the storjr in as few words 
as possible. 

P. A Fox saw a Crow with some cheese in 
her mouth. He flattered her and asked her to 
sing. When she cawed she dropped the cheese 
and the Fox ran away with it. 

B. The Persons. 

Teacher. Can a Fox talk, or a Crow sing? 

Pupil. No. 

T. Do they seem like persons in this storv? 

P. Yes. 

T. Let us think of them as persons for a few 
minutes and see what kind of people they are. 



10 Reading Stories 

We will talk about the Fox, first. What do you 
think he looked like ? 

P. Like a saucy little dog with bright eyes, a 
long sharp nose, and a bushy tail. 

T. When he said, "That's for me," what did 
you learn about him? 

P. That he was hungry ; that he was greedy ; 
that he meant to get the cheese. 

T. When he began to flatter the Crow, what 
did you think of him? 

P. That he was sharp ; that he was trying to 
fool the Crow. 

T. What did you think of him when he said 
that her voice was finer than the voices of the 
other birds, just as her coat was? 

P. He was really flattering. Before, he was 
telling some truth, for her feathers were glossy 
and her eyes were bright. 

T. Did he really think she could sing? 

P. No. He knew she could only caw. He 
was lying, then. 

T. What did he say after she had dropped 
the cheese ? 

P. "That was all I wanted." 

T. And then? 

P. "Do not trust flatterers." 

T. Did the Fox mean it? 

P. Yes. But he was plaguing her, sneering 
at her. He wasn't really sincere. 

T. Now tell me what you've learned about 
the Fox. 

P. He was a lively animal that looked like a 
dog, with a long nose and bushy tail. He was 



Reading Stories 11 

smart, wise, knew how to flatter and get what he 
wanted. But he was a liar and a mean fellow all 
around. 

T. Now, let us study the Crow. What did 
she look like? 

P. She was a big black bird with glossy 
feathers and a bright eye. She had a big black 
bill and black wings. 

T. Did she have a good voice for singing? 

No. She could only say "Caw, caw, caw," in 
a hoarse, croaking voice. 

T. Where was she ? 

P. On the limb of a tree. 

T. Could the Fox reach her? 

P. No. She was safe. 

T. What did she think of herself ? 

P. She thought she was pretty and smart 
and could sing. 

T. What would you say of her manners ? 

P. She was proud and conceited and foolish, 
silly. 

T. Now, tell me what you have learned of 
the Crow. 

P. She was a big black bird with glossy 
feathers and a bright eye. She thought she could 
sing, but she was silly and proud and conceited. 
She was too easily fooled by the lies and flattery 
of the fox. 

C. The Scene. 

Teacher. Where were the Fox and the Crow ? 

Pupil. Outdoors, somewhere. 

T. Were they near a house ? 



12 Reading Stories 

P. I think so, because the Crow had cheese 
in her mouth. 

T. Was it a prairie country? 

P. Perhaps, but there was one tree near. 

T. Was it day, or night? 

P. Daytime, I think. Crows do not hunt at 
night, but foxes do. 

T. Tell me all you know or can guess about 
the place where the bird and fox were. 

P. I think they were on the edge of the 
woods, not very far away from a farmhouse. One 
tree stood out by itself, and the Crow flew from 
the farmhouse to the lone tree. 

D. The Author's Purpose and the Lesson. 

Teacher. This is an old, old story, and it has 
been told in many languages. We cannot be sure 
who first wrote it. But what do you suppose the 
writer meant the story to accomplish? 

Pupil. He meant it to teach a good lesson, I 
think. 

T. What is the lesson? 

P. That foxes are tricky animals ; that crows 
are silly birds; that flattery and lying are bad; 
that it is foolish to trust anyone who flatters you. 

T. Does that mean you do not trust people 
who praise you ? 

P. Oh, no. Praise is all right. Everybody 
likes to be praised. 

T. What is the difference between praise and 
flattery? 

P. When a person praises you he tells the 
truth, and tells it because he likes you, and wants 
to help you ; but when he flatters you, he lies and 



Reading Stories 13 

deceives you, and does it to fool you, because he 
wants you to do something for him, or to get 
something you have. 

T. How can we tell whether we are being 
praised or flattered? 

P. We must be sharp and know ourselves 
and what we really can do. Then we will know 
whether others are speaking the truth about us. 

E. The Author s Method and Style. 
Teacher. What do you call a story like this? 
Pupil. A fable. 

T. Why is it a fable? 

P. Because it's short; because animals talk 
and act like human beings; because it teaches a 
good lesson. 

T. Do you call this story "slow" ? 

P. No. It's a quick, lively one. 

T. What do you think makes it so ? 

P. There are not too many words; the Fox 
and the Crow are interesting; there is a lot of 
talking; we can see the Fox and the Crow; they 
act like human beings. 

T. Are there any good sentences you would 
like to remember? 

P. Yes: "Do not trust flatterers." 

F. The Emotions. 

Teacher. How did the Fox feel when he saw 
the Crow with the cheese in her mouth? 

Pupil. He was hungry ; he wanted the cheese ; 
he made up his mind to get it. 

T. How did he feel when he was flattering 
the Crow? 



14 Reading Stories 

P. He felt jolly; he thought it was fun to 
fool the Crow. 

T. How did he feel when he got the cheese? 

P. He was pleased; he was happy; he did 
not pity the Crow ; he laughed at the Crow when 
he gave her advice. 

T. How did the Crow feel when she flew off 
with the cheese ? 

P. She was happy. 

T. How did she feel while the Fox was flat- 
tering her? 

P. She was proud and vain and felt sure she 
could sing. 

T. When she dropped the cheese? 

P. She was disappointed; she was sorry she 
had tried to sing; she knew she had been fooled, 
and was ashamed. 

T. Did she like the advice the Fox gave her? 

P. No, but she thought it was good advice. 

T. Do you think the Fox could fool her 
again? 

G. Conclusion. 

Teacher. Now, read the fable all through 
just as well as you can. (It is read.) Now, 
Harry, you be the Fox, and read just what he 
says. Clara, be the Crow, and read just what she 
says. Tom may be the story teller, and read just 
the descriptions. Now, watch your parts so there 
will be no delay, and try to speak just as though 
j^ou are really what you are representing. Tom 
may read the first paragraph, and the fourth, but 
may omit entirely those words that are not 
spoken in the other paragraphs. Begin, Tom. 



Reading Stories 15 

Beth Gelert 

(Volume III, page 81) 

Narrative poems are only stories in the form 
of verse, and should be studied first as though 
they were stories only. The following outline 
contains questions only, such questions as a 
teacher might ask of pupils studying the poem, or 
such as might be asked after the poem has been 
read aloud. To carry this on with the language 
class, the teacher has only to require a written 
report on the poem after it has been read and 
the questions have been answered. 

A. The Plot. What was Llewelyn about to 
do? Whom did he want to accompany him? Did 
the dog go? Was the hunt successful? Why? 
Who met Llewelyn on his return? What was 
the dog's condition? What did the hunter sus- 
pect? What frightened Llewelyn as he neared 
the chamber ? What did he find when he entered 
the chamber? What did he think? What did he 
do? What did he find after he had killed the dog? 
Tell the story in as few words as possible — in one 
brief sentence if you can. 

B. The Persons. Who is the chief character 
in the story? Who next interests you? What 
other characters are there ? 

1. Llewelyn. What can you say about 
Llewelyn's appearance? What kind of a man 
was he? How do you know? Does his character 
change in the poem? Would you call him a good 
man? Why? Was he too hasty? 

2. Beth Gelert. What kind of a dog was he ? 



16 Reading Stories 

What was his appearance? Why did he not go 
to hunt? Was he a brave dog? What other char- 
acteristics can you name? What makes you 
think they are characteristics of Beth Gelert ? 

C. The Scene. Where do the first incidents 
of the story take place? Where do the most 
important events happen? What is a castle? 
What can you tell about this castle? Where 
was the baby? What furniture do you know 
was in the room? How did the room look when 
Llewelyn came in? 

D. The Author s Purpose and the Lesson. 
Why do you suppose this poem was written? Is 
it a good story? Do you think it is worth while 
to write or read a story like this? What is there 
worth remembering in the story? Do you think 
Gelert an admirable dog, and does the story tend 
to make you think more of dogs, to be kinder to 
them? 

E. The Author's Method and Style. Do you 
think this is a recently written story? Does it 
sound like the poems that you find in the news- 
papers and magazines today? What is a poem 
written in this style called ? ( Ballad. ) Can you 
think of other ballads? (Look in the Index of 
Volume X, under the title Ballad. ) Do you like 
this kind of poem? Is it vigorous, lively, and 
strong, or is it weak and silly ? 

F. The Emotions. What did Llewelyn feel 
when Gelert did not appear for the hunt? How 
did he feel when he started homeward? What 
did he feel when he saw blood on the hound? 
What did he feel when he saw blood in the bed- 



Reading Stories 17 

room? What was his state of mind when he 
killed the dog? How did he feel when he heard his 
boy's voice? What were his feelings when he 
thought of the slain dog? 

What feeling did Gelert have for the boy? 
Why did the dog stay at home? What were his 
feelings when he saw the wolf? What were his 
feelings when he killed the wolf ? What w r ere his 
feelings when he saw his master returning? What 
did he feel when he saw his master's hand raised 
to strike? 

How were you affected by each of the inci- 
dents ? 

The Passing of Arthur 
(Volume V, page 417) 

There is an outline for the study of this beau- 
tiful poem on page 405 of Volume X. While 
the outline differs in form from those we have 
been using, it is a helpful variation, and shows 
that while a narrative poem must be studied first 
in the same manner as a story, there are still other 
points that need careful examination. 

Including these studies of stories, it is well to 
remark even at the expense of repetition that 
every teacher must expect to adapt every method 
to herself first and then to her school. No one 
can lay down exact rules for the work of another. 
Again, the method has been exhibited sufficiently 
so that it can be applied to any of the stories in 
Journeys, or in a school reader, or to the reading 
of a novel, a drama, or any narrative. 



II. CLOSE READING 

In the purely literary style of reading which 
we have been discussing we may have seemed to 
slight some phases of the study. Reading is the 
instrument by which a person gets information; 
it is the instrument by which a child makes his 
greatest advancement in language, in arithmetic, 
in history, in geography — in fact, in every subject 
he pursues. Study is reading and thinking. The 
child who reads understandingly is the child who 
makes progress in all his studies. While the read- 
ing of stories is profitable only when undertaken 
for the purpose previously described, it is evident 
that closer work frequently is necessary. There 
are many times when every word must be under- 
stood, every phrase comprehended, every sen- 
tence mastered, every paragraph weighed and 
judged. For lack of a better term we have called 
such work "Close reading"; it is really study in 
its most comprehensive form. 

For this close and severe work it is not well 
to choose the finest literary masterpieces, because 
the very labor necessary may cause dislike of the 
thing studied. Many a fine selection has been 
made distasteful to children by the wearisome 
care with which it has been read. Study good 
things in this manner, but leave the beautiful 
things, the inspiring things for other treatment. 
Take, frequently, problems in arithmetic; have 
them read, studied, and analyzed; then outline 

18 



Close Reading 19 

the processes of solution, but do not solve them. 
Take passages from the history, the geography, 
the grammar, and work over them till every jot 
of meaning is extracted. 

Read, in this connection, wha*t is said in Jour- 
neys,, Volume X, page 375. Some things are 
worked out there. Other examples for school 
room work are given below. 

Industry and Sloth 
(Volume I, page 313) 

To bring out the thought in this selection, 
study it as follows : 

Ask one of your pupils who can write well to 
put the selection on the blackboard before the 
class is called. In the recitation bring out the 
thought by such questions as the following : What 
is the meaning of jocosely? (Humorously, flip- 
pantly.) What is a court? (A place where disputes 
between persons are settled by a judge, or by a 
judge and jury.) What is a jury? (A company of 
men, usually six or twelve, who hear the evidence 
and decide on the facts.) What are cases? (The 
dispute or disagreement is called a case, when it 
is brought to court to be decided or settled.) 
What are damsels? (Young girls.) What were 
the names of the young damsels the young man 
said he saw? Why do the words "Industry" and 
"Sloth" begin with capital letters? (Because 
they are the names of girls.) Were they real 
girls? What does industry mean? (Work.) 
What does sloth mean? (Laziness.) Were these 



20 Close Reading 

real girls? Then what does this mean? (The 
young man thinks of fondness for work and 
fondness for idleness as though they were girls.) 
When we write of qualities, or feelings, as though 
they were human beings, the words become 
proper nouns and we begin them with capital 
letters. Do you know what we call this process 
of lifting some thing that is lower to the level of 
human beings? No? We call it personification. 
Here industry and sloth are personified and made 
the equals of human beings. What is the word? 
Try to remember it. Some time I will ask you to 
define it. What does entreats mean? (Begs.) 
What does persuades mean? (That means teazes 
or begs.) Which is the stronger word, entreats 
or persuades? {Entreats means begs strongly* 
persuades means begs and makes me believe what 
is said. I think the latter is really the stronger 
word.) What does alternately mean? (First one 
and then the other. ) What does impartial mean ? 
(Fair; without any favoritism.) What does 
detained mean? (Kept.) What does pleadings 
mean? (Where a case is tried in court the law- 
yers on each side try to persuade the court or 
jury to decide in favor of the man (client) who 
has hired them. The written papers and the 
speeches the lawyers make are called pleadings. ) 
Do you think the young man was really seri- 
ous ? Do you think he really tried to decide any- 
thing as he lay in bed, or was he just trying to 
make up an excuse for his laziness? Was there 
any reason why the young man should lie in bed ? 
Did he think there was? Could you find any 



Close Reading 21 

better reason than he gave ? Do you think he was 
a bright young man? If you had listened to him 
would you have taken his excuse? Why? Was it 
really truthful? Did you ever lie in bed and think, 
"Well, I must get up; no, I'll lie a little longer. 
But I must get up. What's the use? But I ought 
to get up. Yes, I really ought to get up," etc., 
etc., and finally discover that you had wasted a 
great deal of time without really intending it? 
Were Industry and Sloth pleading with you 
then? Do you think that some people waste much 
time trying to decide useless questions? Does it 
sometimes happen that men and women waste so 
much time in this way that they never accomplish 
a great deal of anything? 

From The Death of Caesar 
(Volume X, page 86) 

As preliminary to the intensive study of the 
speech alluded to below, read to the class or have 
them read all of the three selections, namely: 
The Death of Caesar, from Plutarch (page 55) ; 
The Death of Caesar, from Shakespeare (page 
74) , and Julius Caesar, from Froude (page 87) . 
As an example of selections worthy of close read- 
ing, take the speech of Caesar as given on page 
86, beginning, "I could be well mov'd, if I were 
as you." 

Bring out by questions these facts : 

A. Words. 

"Moved" ; induced to change my mind. 

"Constant"; fixed, unchangeable, immovable. 



22 Close Reading 

"Northern star;" the pole star; the north star. 
To us this star always appears fixed in the north- 
ern heavens. The other stars and the constella- 
tions revolve around it; Ursa Major, the Big 
Dipper, is most conspicuous, and by a line 
through its two front stars we may always locate 
the North Star and, hence, the direction, north. 
Mariners have steered by this star for centuries. 
Many a lost and wandering man has found his 
way to safety by its fixed light. 

"Resting"; always stationary. 

"Fellow"; equal. 

"Firmament"; sky, heavens. 

"Painted"; decorated. 

"Sparks"; stars. 

"Doth"; does. 

"Furnished"; filled. 

"Apprehensive"; doubtful, filled with forebod- 
ings and easily moved. 

"Unassailable"; not subject to attack; here the 
meaning is rather that of unconquerable. 

"Constant"; insistent, the first time the word 
appears ; but unchangeable, the second time. 

B. Phrases. "Well moved" ; easily moved. 

"If I were as you" ; if I were as you are, or if I 
were like you. 

"Could pray to move" ; could try to change the 
opinion or the determination of someone else. 

"True-fixed and resting quality"; quality of 
always remaining true or fixed to the one spot in 
the heavens. 

"So in the world"; as all the unnumbered stars 



Close Reading 23 

shine in the heavens and all move but one, thus 
in the world. 

"Holds on his rank unshak'd of motion"; is 
fixed in his ideas and unmoved by prayers and 
petitions. 

"And that I am he"; and I am that one im- 
movable man. 

"Let me a little show it"; let me give a little 
proof. 

C. Sentences. The first sentence means: If 
I could beg others to change their purposes, I 
could be induced to change mine: but I am as 
fixed in my conclusions as the north star is fixed 
in the heavens. The second sentence says: As 
there are unnumbered, movable stars in the 
heavens and only one that is fixed, so in the world 
there are unnumbered, changeable men and only 
one who is fixed in his determination; that I am 
the one determined man let me prove a little by 
saying that, as I was persistent in banishing 
Cimber so will I continue to keep him in banish- 
ment. 

D. The paragraph. The whole speech is a 
refusal on Caesar's part to grant the petition of 
the conspirators who plead that Cimber may be 
brought back from banishment. The words are 
well calculated to stir up resentment and to fix 
the plotters in their plan to murder Caesar. Even 
Brutus would be convinced by such sentiments 
that Caesar was a dangerous man; if the great 
Roman thought himself the one man only with 
such determination, might he not think himself 
the one man of the world in all respects? The 



24 Close Reading 

conspirators were looking for an excuse for kill- 
ing Caesar, and they might find it in this speech ; 
Brutus was being led to believe that Caesar was 
too ambitious and here was the final argument to 
convince him. 



Two phases of close reading are shown in 
the study of Adventures in Lilliput (Volume X, 
page 415), David Crockett in the Creek War 
(Volume X, page 423), and the study on The 
Impeachment of Warren Hastings (Volume X, 
page 427). 

Enough has been written to show the method of 
teaching pupils to read closely. Examples could 
be multiplied indefinitely, but they would not be 
useful, for each teacher will prefer to do his work 
in his own way. 

In passing, it may be well to say a few words 
as to what constitutes good questioning. Ques- 
tions should always be clear and intelligible to 
the pupils, should not call for too much, nor sug- 
gest too plainly the answer. Questions should 
compel thought. If they indicate clearly the 
answer they are usually valueless. However, a 
leading question intended to pave the way for a 
different one may be permissible. Questions that 
may be answered by yes or no are not necessarily 
bad. For instance, such questions as the following 
are poor: 

"Do you not think that ?" 

"You don't think, do you, that ?" 



Close Reading 25 

But questions which require thought and de- 
cision are good ones. The form governs. The two 
questions given above should have been asked 
thus: "Do you think that ?" 

When the answer yes or no has been given, 
then a question may be asked, "What were your 
reasons for answering my question yes (or no) ? 
Again, such a question as, "Was it red or yel- 
low?" does not call for as much thought as "What 
color was it?" But it is needless to go further. It 
is hoped that the questions given in this Manual 
will prove models in form and purpose. 



III. POETRY 

Besides what has been said concerning poetry, 
under the title Reading Stories, you will find in 
Volume X, page 381, a brief discussion on the 
value of poetry with references to those selections 
in the different volumes of Journeys where form 
is discussed and made clear in the study of selec- 
tions. 

On page 383 is an article, Reading Poetry, 
which gives a long list of selections that have 
been interpreted and for which studies have been 
made. 

Below are a few studies of different kinds, 
more complete and offering different types. 

The First Snowfall 
(Volume II, page 443) 

A. The Author. For a sketch of the life of 
James Russell Lowell, see Volume VIII, page 
259. 

B. The Meaning. Words and Phrases: 
"Gloaming"; early evening. 

"Silence." The snow is called a silence, because 
it hushes noise, or prevents it. 

"Pine and fir and hemlock"; three evergreen 
trees. 

"Ermine"; the fur from a northern animal of 
the same name. It is very soft and white. Earls, 

26 



Poetry 27 

nobles of rank, wore ermine on their robes to 
show their high birth. 

"Pearl"; a white, lustrous jewel, or the beau- 
tiful lining of some sea shells. 

"Carrara" ; a town in Italy, whence comes the 
finest white marble. Here Carrara means costly 
marble. 

"Swan's down." Swans have fine soft down be- 
tween their feathers. It protects them from cold 
in winter, and in summer they line their nests 
with it. 

"Noiseless work"; covering everything with 
snow. 

"Mound"; grave. 

"Auburn"; a beautiful cemetery near Boston. 

"Babes in the Wood"; an allusion to the old 
story of the children who were lost in the woods, 
and whom the robins covered with leaves to pro- 
tect them. 

"All-father"; God, the Father of all. 

"Leaden" ; gray and heavy, lead-colored. 

"Arched"; curved. 

"Deep-plunged woe"; a sorrow that plunged 
us deep in misery. 

"Eyes that saw not". His eyes were so filled 
with tears that he could not see "Mabel," who is 
really his daughter Rose. 

"My kiss was given to her sister". He was 
thinking so deeply of his lost daughter, that it 
seemed almost as though he kissed the dead lips. 

"Folded close". The soft downy snow made 
him think of a soft, warm covering for the form 
of his little one. 



28 Poetry 

C. Form and Structure. 

There are ten stanzas of four verses (lines) 
each, with the rhymes at the ends of the second 
and fourth verses only. The word snow is used 
four times in rhymes ; the words rhyming with it 
are crow, below, woe and know. All the rhymes 
in the poem are perfect. 

The meter is a varied iambic trimeter. The first 
and third lines of each stanza have an added un- 
accented syllable, while the second and fourth 
have just three full feet. Anapestic feet are used 
freely to improve the music; in fact, they are 
nearly as numerous as the iambic feet. 

The scansion of the first stanza may be indi- 
cated thus : 

The-snow' | had-be-gun' | in-the-gloam' | ing 

And-bus' | i-ly-all' | the-night 

Had-been-heap' j ing-field' | and-high' | way 

With-a-si' | lence-deep' | and-white' 

The scansion of the sixth stanza may be shown 
as follows: 

Up-spoke' | our-own' | lit-tle-Ma'bel 

Say-ing-Fa' | ther-who-makes' | it-snow' 

And-I-told' | of -the-good' | All-Fa' j ther 
Who cares' | f or-us-here' j be-low' 

They are musical stanzas and the finely chosen 
words add much to the melody. 

D. Sentiment. Lowell had a little daughter, 
Blanche, who died shortly before this poem was 
composed, so we may be sure that it was written 
from a full heart. He begins by giving us one 
of the most beautiful pictures of a snow-storm 



Poetry 29 

and of a snow-covered world that was ever 
written. 

Compare Lowell's other descriptions of win- 
ter to be found in the second part of The 
Vision of Sir Launfal and Whittier's description 
in Snowbound. 

When he has made us feel the softness, gentle- 
ness and beauty of the snow and caused us to for- 
get that it is cold and damp, he speaks of himself. 
We can see him standing by the window look- 
ing out upon the beautiful pearl-clad world. He 
brings us right into his own presence and we can 
almost see the flocks of startled brown snowbirds 
whirling by. Not till now, when we are fully in 
sympathy with him, does he let us know that he 
has met with a deep, heart-breaking loss. Now 
we know what the soft flakes are hiding from 
sight, and our hearts go out with his. 

Then his innocent little daughter comes in with 
the simple, common-place question which he an- 
swers so touchingly. Can you not see him with 
his arm aiound the child, telling her of the care 
of the Father who loves little children so dearly? 
Yet his mind cannot free itself wholly from his 
first great sorrow, though he remembers that 
calmness, resignation, and gentle patience fell 
over his heart as the soft snow falls flake by flake 
from the leaden sky. 

To the child, however, he speaks words that she 
will not fully understand until she, too, is grown 
and has met with sorrow: "It is only the merciful 
Father, darling, who can make fall that gentle 
comfort that heals and hides all suffering." 



30 Poetry 

Once more our hearts are wrung with sym- 
pathy when with tear-filled eyes he gives the little 
maiden by his side the kiss that was for the silent 
lips in sweet Auburn. The little one, kissing 
back, could not know the grief of her father's 
heart or realize that another form than hers was 
clasped in his embrace. 

How much better we know the great poet when 
he tells us his personal griefs in so touching a 
manner ! How sweet is the lesson of patience and 
resignation when communicated in such a beau- 
tiful poem! 

E. Beauty and Effectiveness in Phrasing. 
Where in literature will you find more beautiful 
phrases, more effective figures, than abound in 
this poem ? Notice particularly the following, and 
try to determine why each is remarkable : 

"With a silence deep and white." 

"Ermine too dear for an earl." 

"Stiff rails softened to swan's down." 

"The noiseless work of the sky." 

"the leaden sky 
That arched o'er our first great sorrow." 

"The scar of our deep-plunged woe." 

"Folded close in deepening snow." 

F. Conclusion. The First Snowfall is one of 
the most perfect poems in our language. In 
beauty of composition, of music, of sentiment, 
and in deep religious feeling it can scarcely be 
excelled. Be guarded how you teach it; treat it 



Poetry 31 

reverently. Try to cause the children to love it, 
to wish to memorize it. If you see that you are 
not securing these results, leave the poem and 
take up something else. It is almost a sin to 
spoil it for any person. 

The Forsaken Merman 
(Volume VIII, page 1) 

One of the satisfactory poems for study in the 
middle years of school life is the one whose name 
heads this section of the Manual. It is a great 
favorite with most children who know it, but it 
has not found its way largely into school use. 
For both of these reasons it is worthy of study. 

I. Preparation and General Plan. If you 
have but the one copy in your volume of Jour- 
neys,, write out the poem neatly; or if you are 
pressed for time, take the book to school with you. 
There are nine good sections or stanzas in the 
poem ; number these and let each pupil copy one 
stanza, until all are in their hands. It may require 
the spare time for several days, but you may be 
sure that nearly every pupil will have read the 
entire poem at least once, before the day of reci- 
tation. Each pupil has, then, one stanza from 
which to read, and under your direction has stud- 
ied it in the usual way. In recitation you will call 
upon the pupils in order, each to read his own 
stanza and to answer questions upon it. For the 
second reading, and third, if desirable, let the pu- 
pils exchange papers so they will read stanzas 
new to themselves. Be sure to have a final read- 



32 Poetry 

ing by yourself, or by the best readers in the class, 
that shall be continuous and without interrup- 
tions ; otherwise, your pupils will miss the beauti- 
ful unity of idea and fail to see the relations of 
the different parts. 

II. Words and Phrases and Sentences. 
Where each pupil cannot have studied the whole 
selection it is well to begin with the study sen- 
tence by sentence. See that the meaning is clear. 
The following suggestions may be of assistance: 

Page 1, line 6. "Wild white horses"; the 
breakers, where the waves are beaten into foam 
and flying spray. 

Line 7. "Champ" ; gnash their bits. 

Page 2 3 line IS. "Stream." The ocean cur- 
rents resemble streams of water on land. 

Line 17. "Mail"; scales. How could the 
snakes dry their mail ? 

Line 18. "Unshut." Do fish have eyelids? 
Is a whale a fish? Does a whale have eyelids? 
Do most people think of a whale as a fish? 

Line 29. "Sate" is an old form for "sat." 
Can you find other old or unusual words or ex- 
pressions? Why does the poet use them? 

Page 3, line 4. "Merman." The literature of 
the ancients contained frequent allusions to mer- 
maids, who were strange creatures with heads 
of beautiful, long-haired maidens, but with scaly 
bodies and the tails of fish. In pictures they are 
usually represented as sitting upon reefs holding 
a mirror in one hand and combing their long locks 
with the other. Holmes, in The Chambered 
Nautilus, speaks of the "cold sea-maids" who 



Poetry 33 

"rise to sun their streaming hair." Mermen were 
not so often spoken of, but there are some allu- 
sions to them. In later times the mermaids were 
considered more as fairies, and there were many 
stories of human children being taken to live with 
the mermaids, and of the latter coming upon land 
to live like men and women. There was, too, a 
belief that sea-folk had no souls, and that a per- 
son who went to live with them would lose his 
soul. The beautiful picture on page 4 shows the 
forsaken family. 

Line 4* from the bottom. "Leaded panes." 
The small panes of stained glass in the church 
windows are set in narrow leaden frames. 

Page 6, line U. "Heaths" and "broom." The 
English and Scotch heathers are little bushy 
shrubs that cover the hills and fields. They bear 
beautiful little bell-like pink or white flowers. 
The trailing arbutus, the blueberry and the win- 
tergreen are some of our native plants belonging 
to the same family. The broom plant is another 
low shrub that bears rather large yellow blossoms, 
shaped like the flowers of peas and beans. The 
old-time country-folk used bundles of these 
shrubs for brooms. 

Line 25. There have been several allusions 
to tides. If the pupils do not understand the 
subject, be sure to explain how different a shore 
looks at high and at low tide. The change is 
most noticeable where the water is shallow, for 
then long stretches of sea-bottom may be un- 
covered at low tide. 

III. The Story. Bring out by questions 



34 Poetry 

these facts which constitute the "plot," or inci- 
dents : 

1. A merman who has a family of children 
(four, the artist says, page 4), has been deserted 
by his human wife. 

2. The father and children are on shore try- 
ing to persuade the mother to return. The fa- 
ther feels that all must return. 

3. He begs the children to call their mother 
once more, for he thinks that childish voices, wild 
with pain, may induce her to come. 

4. He feels discouraged. 

5. He tells how she became alarmed and left 
them at Easter time to return to her church and 
pray, that she might save the soul she feared she 
was losing. 

6. The father and children had come on shore 
to find their mother. She was seen praying in 
the church, working at her spinning wheel at 
home, happy but apparently not wholly forget- 
ful of her family in the sea, for she sighed and 
dropped a tear as she looked over the sand to the 
sea. 

7. The father feels that his wife is cruel and 
faithless and that she has deserted, forever, him- 
self and his family, the kings of the sea. 

IV. The Characters. Question the pupils 
till they see clearly the persons. 

1. The principal character is the deserted 
merman, a king of the sea. Ought he to expect 
his wife to stay with him? 

2. The wife, a human being who has loved a 
merman, and who has a family of sea children, 



Poetry 35 

but who has suddenly become awakened to the 
danger to her soul. Is she selfish? Ought she 
to have forsaken her family? Can she really be 
happy away from her husband and family? 

3. The children. How many were there? 
How old were they? Were there both boys and 
girls ? Do you think Mr. Reese had a clear idea 
of the family when he drew the picture (page 
4) ? There must have been at least three, for 
it is said that the mother tended the youngest 
well; at least one girl, for the mother sighed for 
the strange eyes of a little mermaiden. 

4. The priest. 

V. Pictures. Two series of pictures are kept 
side by side all the time; one of the land, and 
the other of the sea. Try to create a vivid scene 
from each. 

First, on land: We can see a little town, 
nestling on the side of a bleak, wind-swept hill, 
an old English town with a white stone wall all 
around it. On the hill, which is too rough to be 
cultivated, grow great fields of heather, studded 
with the golden blossoms of broom-plant. A 
little graystone church stands surrounded by its 
yard, where the village dead are buried, for such 
was the old custom in England. The stones 
are at the head of the graves, and the walls of 
the church are rain- and storm-worn, but bright 
stained-glass windows in the building and flowers 
and trees among the graves make the place very 
beautiful. Some of the windows are clear, so 
that you can look through and gaze along the 
aisle bordered by high wooden pews and see the 



36 Poetry 

priest reading service, and, by one of the stone 
pillars, the merman's wife, her eyes steadily gaz- 
ing at the bible in her lap. You are privileged, 
too, to peep into one of the thatched cottages, 
and see the mother turning the old-fashioned 
spinning wheel. From her house there is a wide 
view down the hill, across the bay and out to 
sea. At high tide the breakers dash madly against 
the shore, but at low tide there is a broad strip 
of silver sand, rocks covered with sea-weed, and 
in the low places, creeks and pools of salt water. 
Does the artist's picture represent high or low 
tide? 

Second, at sea: Deep beneath the surface of 
the water where the waves toss and roar, where 
the surf and spray dash madly about, are great 
caverns strewn with white sands. It is cool down 
there in the depths and the light filtering through 
the clear green sea is weak and pale. The wa- 
ter streams through caverns swaying the ex- 
quisite sea weeds that line the walls; and out- 
side, round about, whales, sea-snakes and all 
manner of water beasts swim in play or struggle 
for mastery. In one of the caverns stands a 
great throne of red gold, ornamented with grace- 
ful sea fringe, pearls and amber. From without 
one may gaze up to the amber-colored ceiling, or 
down to the pavement of lustrous pearl. It was 
this wondrous palace that the mermaid aban- 
doned for the sake of her soul. 

VI. Sentiment. It is, on the whole, a sad 
poem, though a few cheering thoughts are sug- 
gested by it. Without an attempt at classifica- 



Poetry 37 

tion and analysis, here are a few choice ideas 
taken in order as they occur : 

Page 1. "Children's voices should be dear to 
a mother's ear." 

Page S. "Long prayers in the world thev 
say." 

Page J. "Oh joy, for the blessed light of the 
sun!" 

Page 6. The last stanza shows very pleasing- 
ly the faithfulness of father and children, in con- 
trast to the inconstancy of the mother. 

VII. Beauty, Besides its sentiment, the 
poem gives us other beauties in great number. 
Here are some of them: 

a. Unity. The poem has one idea running 
through it from beginning to end, an idea that 
is nowhere lacking, though at first it is not 
seen. What is the one idea? Grief, but not 
bitterness nor anger. Each succeeding stanza 
is seen to add something to this idea, till all our 
sympathies are enlisted for the forsaken children, 
more than for the father who does all the talking. 

b. Meter and Rhyme. Both meter and 
rhyme are irregular, but that fact gives a pleas- 
ing variety to the poem and corresponds to the 
somewhat abrupt changes in the line of thought 
that at first make the poem rather hard to read. 
The pupils will be interested in comparing the 
lengths of lines in different stanzas and sometimes 
in different parts of the same stanza. It is easy 
to pick out the rhymes, to see how often rhymes 
are repeated in a stanza, and whether the lines 
are in couples or alternate. 



38 Poetry 

c. Phrases. The following lines are quoted 
as those perhaps best worth study and remem- 
brance. Let the pupil determine why they were 
selected as beautiful lines; that is, determine in 
what respect the lines are beautiful: 
"Now the wild white horses play, 
Champ and chafe and toss in spray." 

"The far off sound of a silver bell." 

"Where the sea snakes toil and twine, 
Dry their mail and bask in the brine." 
"A long, long sigh 

For the cold, strange eyes of a little Mermaiden." 
"A ceiling of amber, 
A pavement of pearl." 
"Heaths starred with bloom." 

The Petrified Fern 
(Volume VII, page 352) 

Some day when you want an interesting and 
delightful nature lesson that is a little out of 
the ordinary, get, if you can, a fossil fern. If 
you are in the city, doubtless you can get one 
from the museum, or, better yet, you may find 
that among your pupils there is some one who 
has such a specimen carefully treasured away. 
In some localities where the limestone rock comes 
to the surface, especially in the coal measures, 
these petrified ferns are very numerous. Show 
this to the class and get them all interested in it. 

If you cannot get a specimen to use, you can 
find a picture in the encyclopedia or geology, or 



Poetry 39 

you can tell the pupils how in some places it is 
possible to pick up from among the rocks on the 
surface of the ground oblong pieces perhaps a half 
inch thick, in which, when they are split open, you 
can see the impression of a fern, every vein show- 
ing plainly and looking as clear in the dull gray 
as it showed when alive in its green dress. 

Tell the story of the fern something after this 
fashion : 

"Hundreds and hundreds of years ago, so 
many years, in fact, that none of us can tell how 
many, somewhere in a valley, there grew a beau- 
tiful little fern, green and slender. It was as 
tender and delicate as the ones you can find in 
the woods now, and grew in just such a shady 
place. When the breezes crept down under the 
trees they waved the fern gracefully about so 
that it gently touched the tall rushes that grew 
above it and cast little shadows on the moss at 
its feet. Now and then a playful sunbeam darted 
through the crevices in the leaves and found the 
fern, and at night drops of dew stole silently 
in and made a glistening crown upon its head. 
But there were no children then to find it. It 
was long, long ago, when the earth was young 
and nowhere on its broad surface was a single 
human child. 

"Out in the silent sea fishes larger than any 
that can be found now were swimming about. 
Across the plains of the earth animals of won- 
derful shapes and enormous size stalked clumsily 
and found their way into stately forests. No 
man ever saw growing such trees as waved their 



40 Poetry 

giant branches over the earth, for then Nature 
made things on a grander scale than she does 
now. The little fern, however, was wild and 
simple, and lived in its home unnoticed and un- 
cared for by any of the great creatures or the 
mighty trees. Still it grew on modestly in its 
own sweet way, spreading its fronds and becom- 
ing more beautiful every day. 

"Then suddenly one day the earth heaved up 
its mighty rocks and threw them about in every 
direction. The strong currents of the ocean 
broke loose and flowed over the land. They 
drowned the animals, moved the plain, tore down 
the haughty woods and cast the great trunks 
about like straw. They broke the little fern 
from its slender stalk, and burying it deep in 
soft moist clay, hid it safely away. 

"Many, many long centuries have passed since 
the day the useless little fern was lost. Millions 
of human beings have come upon the earth, have 
lived and been happy, have suffered, passed away, 
and have been forgotten. The soft, moist clay 
that clasped the fern hardened into rock and kept 
safely in its strong prison the delicate little frond. 

"Then one day, not long ago, a thoughtful 
man studying Nature's secrets far and wide, 
found up in a valley where a stream had worn 
a deep fissure, a queer little rock. When he 
looked at it, he saw running over it a strange 
design, as though some fairy with its magic pen- 
cil had drawn the outline of a fern with every 
vein distinct, showing in every line the life of 



Poetry 41 

the little long-lost plant. It was the fern I told 
you about. 

"Isn't it strange that so delicate a thing as a 
fern could be kept clear and fine through all 
those thousands of years when the earth was 
changing and growing, and then finally be thrown 
up where a man could find it and read its whole 
history? Somebody, whose name we do not 
know, saw the little fern and wrote the beautiful 
lines which I now want to read to you." 

(Here read the poem, The Petrified Fern, 
found in Journeys, Volume VII, page 352). 

There are very few words or expressions in 
the poem that will require any explanation. At 
the end of the first stanza the phrase "keeping 
holiday" means that as there were no human be- 
ings on the earth, there was no real work being 
done. 

At the end of the first line in the second stanza 
the word main is an old term that means ocean. 

The last two lines of the third stanza are 
meant to show how different life has been on the 
planet since man came. Until he appeared there 
was no real agony; there was pain, for animals 
can suffer, but it takes a mind and soul to know 
agony. Man cannot live except with suffering 
and at a bitter cost. 

Until the last two lines of the fourth stanza 
are reached the poem is merely a beautiful and 
musical narrative. The last two lines are the 
thought that comes to the poet when he con- 
siders the history of the little fern. It is think- 
ing such thoughts as this that make the poet 



42 Poetry 

different from ordinary men. You and I might 
see the impression of the fern and think it beau- 
tiful, but its beauty would not suggest to us the 
comforting idea that 

* * * "God hides some souls away 
Sweetly to surprise us, the last day." 

Our own poet Longfellow, in The Builders, 
voices a similar thought when he says : 

"Nothing useless is, or low; 

Each thing in its place is best ; 
And what seems but idle show 

Strengthens and supports the rest." 

After you have presented these thoughts, read 
the poem again to the class. Call attention to 
its musical structure, its simplicity, the beauty 
of its expressions, and then read it a third time. 
It is one of those beautiful things which may well 
be committed to memory. It contains, too, a 
splendid language lesson, if the class will write 
the story in prose and try to bring out the mean- 
ing. Let them use freely the words of the poem, 
but require not only a different arrangement of 
words, but also that there shall be left no trace 
of rhyme or meter in their prose. 

Study also in this connection The Bugle Song 
outline (Volume X, page 419), and the Ode to 
a Skylark (Volume X, page 435). 



IV. PICTURES AND THEIR USE 

Read first from Talks with Parents in Volume 
X the section beginning on page 389. Studies 
of two pictures are there given and other good 
subjects for study are mentioned. Here we 
will discuss methods more fully and give other 
lessons. 

To learn what a picture really contains, to 
appreciate its purpose and merit, we should 
study it systematically. The following topics 
suggest themselves : 

1. The general view. 

2. The details. 

3. The center of interest. 

4. The purpose. 

5. The artist's conception and its appropri- 
ateness. 

6. Elements of beauty. 

As in other cases, the best way to explain a 
method is to apply it. Accordingly, let us study 
by this method the picture, Take Warning, on 
page 41 of Volume I. 

1. The general view. Here is a picture of 
a sailor looking at a rainbow in the sky. 

2. The details. On the seashore are a bar- 
rel, a flagon, a post, stones, etc.; in the distance 
a village, some boats, a lighthouse on a point, 
and, away on the horizon, the outline of a ship 
under sail. Perhaps we have made a mistake; 
is the immediate foreground the deck of a ship? 

43 



44 Pictures and Their Use 

The sailor is dressed in the customary garb : wide 
trousers; dark blouse; wide, square collar; flat- 
topped cap, with the ends of the band flying. He 
is barefooted and stands back to us with one 
arm outstretched and the other half bent at the 
elbow. 

3. The center of interest. The center of in- 
terest of most pictures is found near the center 
of the picture and in this case it is the sailor 
who attracts our attention to the point of sec- 
ondary interest, the rainbow. 

4. The purpose. The artist's intention is to 
illustrate one of the two lines below the picture. 

5. The artist's conception and its appropri- 
ateness. The artist has chosen to represent the 
first line, and conceives the idea of making the 
attitude of a sailor, even when his back is turned 
to us, express the surprise and alarm he might 
feel when he sees in the east a beautiful bow, the 
sign of storm and disaster. To us it seems high- 
ly appropriate. 

6. Elements of beauty. Perhaps this is not 
a beautiful picture, but it is a suggestive one, and 
we cannot but admire the way in which Mr. Wer- 
veke has brought out the lights and shades by 
the skillful use of lines, dots, and patches of 
clear black. The sailor's attitude, too, is cer- 
tainly very expressive. 

Another profitable study can be made on the 
halftone that faces page 204, in Volume X. Ques- 
tions best induce an interest in a picture, but 
the questions should be asked systematically. 



Pictures and Their Use 45 

The following is a model on the picture named 
above, We Examined Our Treasure, 

1. General view. How many men do you 
see in the picture? How does one differ from 
the other two? What do they appear to be do- 
ing? 

2. Details. What man is kneeling? How 
is he dressed? What is he looking at? What 
is the expression on his face? What can you 
say of the dress of the man who is standing? 
What has he in his hand? Can you tell the ex- 
pression on his face? What is the third man 
doing? What has he in his hand? What expres- 
sion has he on his face? What things are on the 
table? What can you see on the floor? What 
is the square object in the lower right hand cor- 
ner? Is it full or empty? What kind of walls 
has the room? What kind of a floor? Where 
does the light in the picture come from? What 
do you think gives the light? 

3. The Center of Interest. Are all the men 
looking in the same direction? Are all looking 
at the same things? Where did they come from? 
(Tell the story in part and read to the pupils 
the paragraph beginning on page 204, covering 
page 205, and extending a few lines on page 
206.) What is the center of interest for the 
three men? On what does your chief interest 
center? 

4. Purpose. What did the artist intend to 
do by means of this picture? Did he select an 
important and interesting event in the story? 

5. Conception and Appropriateness. Would 



46 Pictures and Their Use 

you have thought of making the long chain the 
real center of interest to all three? Is it natu- 
ral to think of the negro as kneeling on the floor, 
taking things out of the chest and handing them 
to the other men? Who is the man standing? 
Who is the man sitting? Would you have 
thought of drawing the three rings on the side 
of the chest ? Was the chest very heavy ? What 
were the rings for? Do you think the artist 
has given appropriate expression to his charac- 
ters? Do you think the picture in general and 
in details appropriate to the paragraph the artist 
intended to illustrate? Has he made the story 
any clearer by his picture? Do you call the pic- 
ture a success ? 

6. Elements of Beauty. Do you like the 
soft, warm tones of the picture, the smoothness 
and neatness of it all? Does the light bring out 
the jewels and riches? What does the light do 
to the face of the sitting men? What effect has 
it on the faces of the other two? Where are 
the shadows thrown? Do you think it makes 
the picture more beautiful to have the light come 
all from one spot in the center of the picture? 
What other beautiful things can you see in the 
picture? How does this picture differ in execu- 
tion from the one on page 202? (In this pic- 
ture the lights and shadows shade smoothly one 
into another and there are many different tones 
or shades of brown. In the other there is noth- 
ing but clear white and clear black; the 
effects of light and shade are produced 
by lines and dots and black patches. The 



Pictures and Their Use 47 

original of the former was made with ink and 
pen; the latter was painted with a brush.) 

Is there a difference in the way the two pictures 
are made for the book? (Yes. The picture on 
page 202 is called a zinc etching. The original 
drawing was photographed on zinc and then the 
white parts were eaten out by acid, leaving the 
lines, dots and patches higher so that they would 
catch the ink in printing. The picture we have 
been studying is called a halftone. If you ex- 
amine it under a microscope you will see that the 
ink is put on in minute dots. The original paint- 
ing was photographed on copper through a 
screen with minute meshes; then the lines were 
etched out, leaving the wonderfully minute dots 
which print from the ink. The halftone proc- 
ess is much more expensive than the zinc-etch- 
ing process and the results are far superior. 

It may be interesting to know that the colored 
plates in Journeys are made by the expensive 
four-color process, the finest way yet discov- 
ered to print reproductions of water colors or 
oil paintings. The pictures here are just like 
the originals in color, though they have been 
reduced in size. The paintings were photo- 
graphed four times, each photograph was litho- 
graphed; that is, engraven upon stone. The 
first photograph shows all the outlines and all 
the colors, and is printed from a stone in black; 
the second photograph is taken in such a way 
that only the red of the painting shows and this 
is printed from its stone in red ink over the 
black print from the first stone ; the third photo- 



48 Pictures and Their Use 

graph shows only the blue colors, and from the 
stone made from this, blue ink is printed over 
the black and red; then from the fourth stone 
made from a photograph which showed only the 
yellow colors, yellow ink is printed over the 
impressions made from the other three places. 
Every colored picture in the books actually 
passed four times through the big presses and 
all the purples and greens, the violets and other 
shades and tints are made by the overlapping 
and intermingling of the three primary colors, 
red, blue and yellow.) 

But to return to the study of the pictures in 
Journeys. After the pupils have been taught 
to observe properly, you have in the pictures 
numberless interesting subjects for language ex- 
ercises. A good, clear-cut description of a pic- 
ture is worth reading and to write one means 
thought and study. The exercise may be varied 
by giving the picture to the class to describe be- 
fore they have any knowledge of the subject and 
then asking them to call their imaginations into 
play and write a story to fit the picture. Later 
you may read them the story the artist meant to 
illustrate. 



V. STORY TELLING 

(Volume X, page 397) 

The teacher who can tell stories well has in 
that power great advantage in her work. How- 
ever, every teacher can learn to be a good story 
teller, and it is the function of this article to 
help her to do so. 

A well-told story is always interesting and 
may be used for many purposes in school. A 
few of these are the following: 

1. Valuable information may be given in 
such a way that it will be remembered. 

2. Moral lessons and instruction in manners 
can be given most effectively. 

3. It is one of the best ways to teach con- 
sideration for the rights and feelings of others, 
and kindness to animals. 

4. A short, amusing story told at the right 
time will help to break up disorder and revive 
flagging interest in study. 

5. Distasteful problems in arithmetic become 
fascinating when put in story form. 

6. History and geography lessons innumer- 
able may be given as stories. 

7. A story told to a language class may be- 
come the basis for many conversational lessons 
and written exercises. One of the hardest prob- 
lems some teachers meet is to induce their pupils 
to talk freely. They will enjoy talking about 
an interesting story. Most pupils like to write 

49 



50 Story Telling 

when they have something interesting to write 
about. They will be happy in writing what the 
teacher told, in writing their opinions of the 
character and acts of the people who appear and 
in writing a good story for the teacher to tell. 

8. There is no better way to introduce a 
child to a great literary classic than by telling 
the story of it in simple form. 

The whole of the article beginning on page 
397 is valuable to teachers, and the principles 
given on page 399 are worth learning. In fact, 
so important are they that we will repeat them 
here in substance, with the modifications and ex- 
planations necessary to make them perfectly ap- 
plicable to the teacher who has a large mixed 
audience. The parent, you know, has few listen- 
ers and they have much in common. The prin- 
ciples, then: 

1. Use Your Oven Words. Simple words: 
graphic, commonplace words are the best. The 
older pupils will be just as much entertained, 
and the younger ones can understand better. On 
the other hand, do not talk down to their level; 
they- will resent the idea and laugh at you. Keep 
on their level. That means that you must be 
sure you know your audience before you begin 
to talk. 

2. Talk Naturally. Forget that you are 
telling a story for the effect it will produce. 
Forget yourself. Tell the story as you would 
tell them an incident you saw on the way to 
school that morning. 

3. Look Your Pupils in the Eyes. Find the 



Story Telling 51 

responsive eyes and get your inspiration from 
them; seek out the dull and uninterested eyes 
and talk to them till they brighten up and re- 
spond to your enthusiasm. Let every pupil 
know that you have looked him square in the 
face at least once, and make everyone feel you 
are talking straight at him. 

4. Supply Many Details. Children love 
them; their lives are made up of little things. 
Don't think you are ignoring the real story by 
your additions. The details you give are prob- 
ably the very ones the author of the original 
story intended you to supply from your own 
imagination as you read. Under this head comes 
the giving of names to characters; descriptions 
of clothes, of facts, of feelings; the addition of 
new incidents. 

The recital of a bare plot is not an interest- 
ing story. For instance: "A boy on his way 
to school found a yellowbird's nest with four 
little birds in it," is the recitation of a bare plot. 
Is it interesting? Would the story appeal to 
children? What do you think of the form fol- 
lowing? 

"John told me an interesting story .this morn- 
ing. As he was coming to school today he 
saw a little yellowbird fly from the bushes by 
the big tree at the corner of Mr. Brown's yard. 
He parted the leaves and looked into the 
bush, but for quite a while he could see nothing. 
At last, however, he spied a pretty little nest in 
the fork of a limb and so low that he could look 
right down into it. John must have made some 



52 Story Telling 

noise, because when he looked in he saw four 
little, wide-open red mouths, and that was 
about all. Of course, there were little 
half-naked bodies under the gaping mouths, 
but he couldn't see them, for each little bird was 
shaking his head about, stretching it up higher 
and higher and opening its mouth wider and 
wider. You see, to each little bird a rustling 
sound meant that the mother bird had come back 
with a bit of tasty breakfast in her mouth. When 
the wee babies found that they had made a mis- 
take they closed their mouths, drew down their 
heads and packed themselves away so tightly 
that I'm sure they can't be cold while their 
mother is away." 

5. Be Intimate and Personal with Your Au- 
dience. Express your opinion now and then as 
your own; interrupt the story occasionally (not 
often enough to spoil the interest) by asking 
for the ideas of the pupils. Let them guess, 
sometimes, at the outcome of the story. Make 
them feel that they are an important and inti- 
mate part of the exercise. Sometimes they will 
help you wonderfully. 

6. Use Direct Discourse Whenever Possible. 
Make your characters speak in their own words. 
Say, "John said, 'I saw the nest,' " rather than, 
"John said that he saw the nest." 

7. Keep the Climax Out of Sight as Long as 
Possible. Curiosity is a large factor in interest, 
and if the children know "how the story is com- 
ing out" you are liable to lose their attention. 
However, you will find that some stories will 



Story Telling 53 

prove such favorites to young children that they 
will call for the tales again and again. Occa- 
sionally small children are very particular about 
the way in which a story is repeated — there must 
be no deviations from the way in which it was 
first told. You may congratulate yourself on 
having told the story well, if the children ask 
for its repetition, and if they criticise your sec- 
ond telling you may know you did very well in 
your first attempt. 

8. Be Enthusiastic; Be Dramatic. Throw 
yourself into the tale; see what you are describ- 
ing; feel what your characters feel, and enjoy 
the story itself. Speak distinctly ; use clear, sym- 
pathetic tones; speak slowly or rapidly as the 
action demands, and use pauses effectively. 
Don't be in a hurry. See that your face ex- 
presses your feelings, that your attitudes are 
easy and your gestures appropriate and grace- 
ful. Act your part. 

9. Do not Preach. Tell the story so the 
moral, if there is any, may be seen and felt 
without your striving to point it out. 

10. Talk the Story Over Freely with Your 
Pupils. Try to get their ideas, rather than to 
give your own. You can tell whether you have 
succeeded and what your faults in narration have 
been. 

Journeys Through Bookland furnishes ma- 
terial for countless good stories. Whatever in- 
terests the teacher in her reading she may feel 
sure she can present in such a way as to make 
it interest her pupil. On page 400 of Volume 



54 Story Telling 

X is given a brief list of good subjects, but there 
are many more just as satisfactory. 

Let us take, for example, Browning's poem 
Heme Riel (Volume IX, page 53). (By the 
way, you can find the pronunciation for that 
name and for many other different words in the 
Glossary at the end of the volume.) We will 
set about the preparation of it together. First 
we will read the note and then the poem. * * * 
It is a stirring thing, a noble monument to a 
noble man. It is worth the telling. We will 
read through it again and mark the passages 
that contain the incidents that make the story, 
so that we may not have to hesitate for ideas 
after we begin to talk. * * * Really, the 
plot is more simple than we thought. It is 
merely this: "The French fleet, defeated by the 
English, arrives off the harbor of St. Malo. They 
call for pilots, but none will try to conduct the 
big ships through the dangerous channel, and 
the captains decide to wreck and burn their ships, 
so the English may not capture them. Just at 
this time a simple Breton sailor offers to pilot 
the vessels through, under penalty of death. 
The commander puts him in charge of the fleet 
and he takes them safely into the harbor. The 
English arrive just too late to do any damage, 
and the French commander, grateful to his de- 
liverer, offers him any reward he may wish. The 
Breton laughs and asks for one day's leave to 
go and visit his wife who lives nearby." 

Let us consider the persons. Evidently Herve 
Riel is the onlv one we need mention bv name. 



Story Telling 55 

We could give him a simpler name, but if the 
story is true, everyone ought to remember him. 
We must try to make him seem alive. We must 
make his deed seem great and must make a point 
of his patriotic devotion and of his beautiful 
love for his wife. 

Now we are ready to talk, as soon as we have 
thought a little and assured ourselves that we are 
in the right spirit. So, facing our audience of 
small children, we begin: 

I've just been reading Herve Riel, a story that 
I like so much I must tell it to you. A long 
time ago, before there was a (name your town), 
really before there was a United States, there 
was a long war across the ocean between the 
great nations, England and France. There had 
been a bloody battle between their navies, and 
the French had been beaten. Still twenty-two 
of their ships escaped, sailed to their own coun- 
try and arrived outside the harbor of Saint Malo. 
But they were not safe, by any means. The 
English were close behind and could soon over- 
take and capture or destroy all the French ves- 
sels, and put to death many of their crews. In- 
side the harbor the French knew they would be 
safe, for no English vessel could get through the 
long, crooked channels without a pilot, and no 
Frenchman would lead the English. 

Without even waiting to anchor, the captains 
made signals for pilots and many skilled ones 
came off to the ships. When the pilots heard 
that the French were crippled and must get into 
the harbor they laughed at the captains. 



56 Story Telling 

"Go through there now?" they said. "Why, 
you can't do it. Don't you see it's low tide and 
the rocks are showing everywhere? The chan- 
nel is crooked and very dangerous at high water 
and now you could not get your smallest ship 
through safely, let alone such a large ship as 
the Formidable here, with her ninety-two big 
guns. It can't be done." 

Nothing could change the minds of the pilots. 
They knew their business thoroughly. So the 
captains met to decide what they should do. The 
commander addressed them, saying: 

"The English are at our heels. What shall 
we do? Do you want them to tow us all, one 
behind the other, back to their country to become 
their prizes? Not I. Better run all the ships 
aground, set fire to them, and escape ourselves, 
if we can." 

The brave captains all looked at their com- 
mander. Every man shut his teeth together, set 
his brows, and with flashing eyes said, "Speak 
the word; we will obey." 

But the commander never gave his order! 
Right into the excited group stepped a man; 
not a captain, not even a second mate; just a 
plain, simple sailor who lived near Saint Malo. 
He had not even joined the fleet of his own will, 
but had been seized and carried on board long 
before the battle, because the navy was short of 
sailors. You might think he would want revenge 
for being taken away from his home and his 
fishing. Did he? At first he was too much 



Story Telling 57 

excited to speak, but in a moment he stormed 
out: 

"What's the matter with you pilots ? Are you 
mad, or fools, or cowards, or have the English 
bought you body and soul? Don't talk to me 
of rock and shallow places and crooked channels ! 
Haven't I sailed these waters for years, and 
don't I know every shallow place, every dan- 
gerous turn, every inch of the way? You cow- 
ards! There's a way through, I tell you." 

Then Herve Kiel turned to the commander 
and shouted, "Put me in charge of this ship, 
the biggest, this Formidable, and I'll steer her 
through. Make the others follow me closely. 
They'll all come safely in. Try me; I'll do it. 
I haven't much to offer for the chance, but if 
this ship so much as touches her keel on a hidden 
rock, you may cut off my head. Let me try, sir." 

The commander replied, "We have not a sec- 
ond to spare. You're admiral here! Take the 
helm and lead us through!" 

Herve Riel was as prompt as the commander, 
and seizing the tiller, he soon had the great ship 
sailing along under perfect control. She went 
into the narrow channel, with the great rocks 
high on both sides. The waves beat up angrily 
and the breakers threw their spray high over 
the decks. With eyes fixed on the channel and 
both hands on the helm, he guided the staunch 
vessel on their winding course. Time and again 
it seemed as though she must be wrecked, but 
just at the moment of greatest danger Herve 
Riel shifted the helm, and the stately ship moved 



58 Story Telling 

safely on. With hearts beating high, the offi- 
cers watched the wonderful deed, and the fright- 
ened sailors clung speechless to the rail. Finally, 
between two great rocks that seemed to block 
the channel completely, the ship sailed majestic- 
ally into the harbor, and Herve Kiel had kept 
his promise. Not once had the great Formidable 
touched her keel to a rock; not a scratch, except 
the battle scars, marred her fair sides. 

After her, one by one, came the other ships 
of the squadron, till all were anchored safely in 
the harbor. Just as the last ship came to anchor, 
the English fleet, coming up in helpless anger, 
began to throw shells across the passage. The 
French, however, were out of range and could 
laugh at the fruitless attempts of their enemy. 
With one voice the captains and sailors of the 
rescued fleet shouted, "Herve Kiel ! Herve Riel ! 
Now, let the king of France reward the man 
who has saved his fleet!" 

And what of the brave sailor ? He stood calm 
and quiet without a gleam of pride in his frank, 
blue eyes. Just the same man as he was before 
his gallant deed, he answered the Commander's 
call and stood before him. 

"My friend," began the Commander, "I can 
scarcely speak, but you know praise comes from 
the heart and not from the lips. You have saved 
the fleet from certain destruction and have pre- 
served the lives of many of your countrymen. 
Xo reward is too great for you. Ask what you 
will and it shall be granted." 

Herve Kiel's blue eves danced with merriment 



Story Telling 59 

as he said, "Now that my work is over I would 
like, if I may have it, one whole day to visit my 
wife whom I call Beautiful Aurora and who 
lives just a little way from Saint Malo. That 
is all I want. May I go?" 

You can imagine whether or not his request 
was granted. 

Now, do you know, that brave act was for- 
gotten; Herve Kiel was forgotten for many 
centuries. No monument was erected to his mem- 
ory; there seemed nothing to keep the patriotic 
man alive in the hearts of his countrymen. But 
one day, not so many years ago, Robert Brown- 
ing, the great English poet, heard the story, 
and he was so moved by the heroic deed and 
the quiet humor of the man, that he wrote a fine, 
manly poem and called it Herve Riel, so that it 
should remain as a monument to the patriotism 
and character of the simple French sailor. Some 
day we will read the poem. 

If the children are older and studying history, 
we would give more of an idea of the place, make 
the names and dates more prominent, and show 
what the effect of saving the ship really was. 
The poem is an excellent one, but most children 
do not care for it till they have heard the story 
and have studied the text. Then they are de- 
lighted with it and will read it again and again. 
It has been many years since the writer of this 
first read Herve Riel, but he has never wearied 
of it and cannot read it now without a thrill of 
admiration for the hero and for Browning's mon- 
ument. 



60 Story Telling 

When you tell the story, do not try to tell it 
as this has been told. Use your words, select for 
emphasis the parts that appeal to you and give 
your pupils just the ideas that you have con- 
ceived. 



VI. MEMORIZING 
(Volume X, page 401) 

What is said in Talks with Parents on this sub- 
ject is as valuable for teachers as for parents, 
and the list of good selections at the end of the 
article will be particularly helpful. 

To assist the teacher still further, we append 
a few pages of quotations taken at random from 
the volumes. They will prove handy when the 
teacher is pressed for time, and the references 
to volume and page will enable the busy person 
to find the context readily, if that seems de- 
sirable. 

One Hundred Choice Quotations 

(Volume I) 

Early to bed, and early to rise, 

Makes a man healthy, wealthy and wise. 

— Page 8. 

Had it not been for your buzz I should not 
even have known you were there. — Page 67. 

The Rock-a-by Lady from Hushaby street, 
With poppies that hang from her head to her 
feet. — Page 90. 

I saw the dimpling river pass 

And be the sky's blue looking-glass. — Page 128. 

61 



62 Memorizing 

In through the window a moonbeam comes, 
Little gold moonbeam with misty wings. 

—Page 131. 

Oh, the world's running over with joy. 

—Page 146. 

The honorable gentleman has not told us who 
is to hang the bell around the Cat's neck. 

—Page 203. 

Here is the mill with the humming of thunder, 
Here is the weir with the wonder of foam, 

Here is the sluice with the race running under — 
Marvelous places, though handy to home. 

— Page 363. 

Then she smooths the eyelids down 
Over those two eyes of brown — 
In such soothing, tender wise 
Cometh Lady Button-Eyes. 

— Page 382. 

One must be content with the good one has 
enjoyed. — Page 395. 

(Volume II) 

Did you ever hear of a bird in a cage, that 
promised to stay in it? — Page 2. 

The very violets in their bed 
Fold up their eyelids blue. 

— Page 35. 

Oh, not in cruelty, not in wrath, 
The Reaper came that day ; 



Memorizing 63 

'Twas an angel visited the green earth, 
And took the flowers away. 

— Page 41. 

It matters nothing if one is born in a duck 
yard, if one can only be hatched from a swan's 
egg. — Page 57. 

Rejoice in thy youth, rejoice in thy fresh 
growth, and in the young life that is within thee. 

-Page 97. 

You are more than the Earth, though you are 

such a dot — 
You can love and think, and the Earth cannot. 

— Page 244. 

Thank him for his lesson's sake, 

Thank God's gentle minstrel there, 

Who, when storms make others quake, 
Sings of days that brighter were. 

—Page 253, 

You must expect to be beat a few times in 
your life, little man, if you live such a life as a 
man ought to live. — Page 288. 

Those that wish to be clean, clean they will 
be. —Page 293. 

(Volume III) 

Reckon not on your chickens before they are 
hatched. — Page 69. 

He saw the rocks of the mountain tops all 
crimson and purple with the sunset; and there 
were bright tongues of fiery cloud burning and 
quivering about them; and the river, brighter 



64 Memorizing 

than all, fell, in a waving column of pure gold, 
from precipice to precipice, with the double arch 
of a broad purple rainbow stretched across it, 
flushing and fading alternately in the wreaths 
of spray. — Page 151. 

In darkness dissolves the gay frost-work of 
bliss. —Page 186. 

Peace and order and beauty draw 
Round thy symbol of light and law. 

— Page 477. 

(Volume IV) 

Prince thou art, — the grown up man 
Only is republican. — Page 3. 

O'er me, like a regal tent, 
Cloudy-ribbed, the sunset bent, 
Purple-curtained, fringed with gold, 
Looped in many a wind-swung fold. 

— Page 6. 
Now in memory comes my mother, 

As she was long years agone, 
To regard the darling dreamers 
Ere she left them till the dawn. 

— Page 8. 

Lips where smiles went out and in. — Page 32. 

All the little boys and girls, 

With rosy cheeks and flaxen curls, 

And sparkling eves and teeth like pearls. 

—Page 37. 
I chatter over stony ways, 
I've little sharps and trebles, 



Memorizing 65 

I bubble into eddying bays, 
I babble on the pebbles. 

—Page 194. 

For men may come and men may go, 
But I go on forever. 

—Page 195. 

And looks the whole world in the face, 
For he owes not any man. 

—Page 227. 

Thus at the flaming forge of life 
Our fortunes may be wrought; 

Thus on its sounding anvil shaped 
Each burning deed and thought. 

—Page 229. 

And when the arrows of sunset 
Lodged in the tree-tops bright, 

He fell, in his saint-like beauty, 
Asleep by the gates of light. 

— Page 274. 

And then through the flash of the morning light, 
A steed as black as the steeds of night, 
Was seen to pass as with eagle flight. 

—Page 378. 

Noiselessly as the springtime 
Her crown of verdure weaves, 

And all the trees on all the hills 
Open their thousand leaves. 

— Page 426. 



66 Memorizing 

(Volume V) 

Who dies in youth and vigor, dies the best, 
Struck through with wounds, all honest, on the 
breast. — Page 52. 

the knotted column of his throat, 
The massive square of his heroic breast, 
And arms on which the standing muscle sloped, 
As slopes a wild brook o'er a little stone, 
Running too vehemently to break it. 

— Page 325. 

Ye think the rustic cackle of your bourg 
The murmur of the world ! 

—Page 331. 

For man is man and master of his fate. 

—Page 335. 

(Volume VI) 

Perseverance gains its mead 
And Patience wins the race. 

—Page 42. 

Forever float that standard sheet! 

Where breathes the foe but falls before us, 
With Freedom's soil beneath our feet, 

And Freedom's banner streaming o'er us? 

—Page 130. 

He has sounded forth the trumpet that shall 

never call retreat; 
He is sifting out the hearts of men before his 

judgment seat: 



Memorizing 67 

O, be swift, my soul, to answer him! be jubilant, 
my feet ! 

Our God is marching on. 

—Page 132. 

Silence! ground arms! kneel all! caps off! 

"Old Blue-Light's" going to pray. 
Strangle the foe that dares to scoff! 

Attention! It's his way. — Page 133. 

To every man upon this earth 

Death cometh soon or late. 
And how can man die better 

Than facing fearful odds, 
For the ashes of his fathers, 

And the temples of his gods. 

—Page 246. 

When by my bed I saw my mother kneel, 

And with her blessing took her nightly kiss ; 

Whatever Time destroys, he cannot this; — 
E'en now that nameless kiss I feel. — Page 372. 
Sweet and low, sweet and low, 

Wind of the western sea; 
Low, low, breathe and blow, 

Wind of the western sea ! 
Over the rolling waters go, 
Come from the dying moon, and blow, 

Blow him again to me ; 
While my little one, while my pretty one, sleeps. 

—Page 372. 

The heavens declare the glory of God ; and the 
firmament showeth his handiwork. Day unto 
day uttereth speech, and night unto night shew- 



68 Memorizing 

eth knowledge. There is no speech nor language 
where their voice is not heard. — Page 387. 

I had rather be a doorkeeper in the house of 
my God than to dwell in the tents of wickedness. 

—Page 390. 

He will not always chide : neither will he keep 
his anger forever. — Page 391. 

When I was a child, I spake as a child, I felt 
as a child, I thought as a child; now that I am 
become a man, I have put away childish things. 

—Page 394. 

And the sheen on their spears was like stars on 

the sea, 
Where the blue wave rolls nightly on deep 

Galilee. —Page 395. 

Whither thou goest, I will go ; and where thou 
lodgest, I will lodge ; thy people shall be my peo- 
ple and thy God my God. —Page 399. 
For we are all, like swimmers in the sea, 
Poised on the top of a huge wave of fate, 
Which hangs uncertain to which side to fall. 

— Page 445. 

(Volume VII) 

Mid pleasures and palaces though we may roam, 
Be it ever so humble, there's no place like home. 

— Page 6. 

"God bless us everyone!" said Tiny Tim. 

—Page 97. 
All hail'd, with uncontroll'd delight 



Memorizing . 69 

And general voice, the happy night, 
That to the cottage, as the crown, 
Brought tidings of Salvation down. 

— Page 151. 

The short and simple annals of the poor. 

—Page 158. 

The paths of glory lead but to the grave. 

—Page 158. 

Full many a gem of purest ray serene 

The dark unf athomed caves of ocean bear ; 

Full many a flower is born to blush unseen. 
And waste its sweetness on the desert air. 

—Page 159. 

Along the cool, sequestered vale of life 
They kept the noiseless tenor of their way. 

—Page 161. 

He gained from Heaven ('twas all he wished) 
a friend. — Page 164. 

Sloth, like rust, consumes faster than labor 
wears ; while the used key is always bright. 

—Page 208. 

He that riseth late must trot all day, and shall 
scarce overtake his business at night; while lazi- 
ness travels so slowly that poverty soon overtakes 
him. — Page 209. 

Have you somewhat to do tomorrow? Do it 
today. — Page 210. 

For want of a nail the shoe was lost ; for want 
of a shoe the horse was lost; and for want of a 
horse the rider was lost. — Page 212. 



70 Memorizing 

Beware of little expenses; a small leak will 
sink a great ship. — Page 213. 

'Tis foolish to lay out money in the purchase 
of repentance. — Page 214. 

Fools make feasts and wise men eat them. 

—Page 214. 

'Tis hard for an empty bag to stand upright! 

—Page 217. 

Experience keeps a dear school, but fools will 
learn in no other. — Page 219. 

That inward eye 
Which is the bliss of solitude. 

—Page 287. 

Then doth thy sweet and quiet eye 
Look through its fringes to the sky. 

—Page 291. 

The bonny lark, companion meet, 
Bending thee 'mang the dewy weet 

Wi' spreckled breast, 
When upward springing, blithe to greet 

The purpling east. — Page 295. 

He prayeth well, who loveth well 
Both man and bird and beast. 
He prayeth best, who loveth best 
All things both great and small. 

—Page 351. 

The rank is but the guinea's stamp, 
The man's the gowd for a' that ! 

— Page 454. 



Memokizing 71 

By fairy hands their knell is rung 
By forms unseen their dirge is sung. 

— Page 457. 

Still stands Thine ancient Sacrifice, 
An humble and a contrite heart. 

Lord God of Hosts, be with us yet, 
Lest we forget — lest we forget ! 

—Page 472. 

(Volume VIII) 

The remarkably adult yet innocent expression 
of their open and serene eyes is very memorable. 
All intelligence seems reflected in them. They 
suggest not merely the purity of infancy, but a 
wisdom clarified by experience. Such an eye 
was not born when the bird was, but is coeval with 
the sky it reflects. The woods do not yield such 
another gem. — Page 91. 

Sounds of vernal showers 

On the twinkling grass, 
Rain-awakened flowers, 

All that ever was 
Joyous, and clear, and fresh, thy music 
doth surpass. — Page 108. 

Imagine a stream seventy yards broad divided 
by a pebbly island, running over seductive rif- 
fles and swirling into deep, quiet pools where 
the good salmon goes to smoke his pipe after his 
meals. — Page 119, 



72 Memorizing 

I once had a sparrow alight on my shoulder 
for a moment while I was hoeing in a village gar- 
den, and I felt that I was more distinguished by 
that circumstance than I should have been by 
any epaulet I could have worn. — Page 132. 

For tho' from out our bourne of Time and Place 

The flood may bear me far, 
I hope to see my Pilot face to face 

When I have crost the bar. — Page 184. 

And while in life's late afternoon 

Where cool and long the shadows grow, 
I walk to meet the night that soon 

Shall shape and darkness overflow, 
I cannot feel that thou art far, 

Since near at hand the angels are; 
And when the sunset gates unbar, 

Shall I not see thee waiting stand, 
And. white against the evening star, 
The welcome of thy beckoning hand ? 

—Page 235. 
He who, from zone to zone, 

Guides through the boundless sky thy certain 
night, 
In the long way that I must tread alone, 

Will lead my steps aright. — Page 244. 

Go tell the Spartans, thou that passeth by, 
That here, obedient to their laws, we lie. 

— Page 447. 

(Volume IX) 

Thermopylae had her messenger of defeat: 
The Alamo had none. — Page 35. 



Memorizing 73 

Write me as one who loves his fellow men. 

—Page 78. 

England expects every man to do his duty. 

—Page 229. 

An' Oh ! be sure to fear the Lord alway ! 
An' mind your duty, duly, morn and night! 

—Page 257. 

They never sought in vain that sought the 

Lord aright. — Page 257. 

The best acid is assiduity. — Page 267. 

(Volume X) 

When beggars die, there are no comets seen; 
The heavens themselves blaze forth the death of 
princes. — Page 76. 

Cowards die many times before their deaths ; 
The valiant never taste of death but once. 

—Page 76. 
Et tu brute! Then fall, Caesar. — Page 86. 
Surely man is but a shadow, and life a dream. 

—Page 232. 

— All service ranks the same with God. 

— Page 249. 
The year's at the spring, 
And day's at the morn; 
Morning's at seven ; 
The hillside's dew-pearled: 
The lark's on the wing; 
The snail's on the thorn ; 



74 Memorizing 

God's in his heaven — 
All's right with the world. 

— Page 251, 

For what are the voices of birds — 

Ay, and of beasts — but words, our words, 

Only so much more sweet? — Page 263. 

I will pass each, and see their happiness, 

And envy none — being just as great, no doubt, 

Useful to men, dear to God as they! 

—Page 267. 

The quotations above are arranged in the or- 
der of their appearance in Journeys Through 
Bookland. This will enable the teacher to lo- 
cate them easily. The lines cover a wide range 
of thought and will furnish an endless variety 
of material for stories, comment, question and 
conversation. Some of them cannot be appre- 
ciated without a knowledge of their setting in 
the original poem or prose selection, while others 
are complete and perfect as they stand. 

One of the best ways to teach a poem or selec- 
tion is to begin by creating an interest in a quo- 
tation from it. For instance, "Write me as one 
who loves his fellowmen," will lead the way to 
an acquaintance with the old favorite Abou Ben 
Adhem. In fact, only after the poem has been 
read and appreciated will a person get the full 
force of the idea, "Write me as one who loves 
his fellowmen," 



VII. SUPPLEMENTARY BOOK LISTS 
(Volume X, page 448) 

The brief article beginning on page 448, 
though written for parents, will be interesting 
to teachers, and the lists beginning on page 452 
will be found exceedingly helpful. Many of the 
books will be found in school libraries and the 
classification of the lists will enable the teacher 
to use wisdom in her recommendation for out- 
side or supplementary reading, even if she is not 
familiar with the books themselves. It should 
be remembered that as a general thing children 
prefer to read the things that are easy for them 
and that it is not well to recommend many books 
that are even on a level with their reading in 
class. Many pupils go to the public library for 
books and they are always glad of suggestions 
concerning interesting books related to school 
exercises. 

It not infrequently happens that teachers are 
consulted by school boards concerning additions 
to the school library, and no better service can 
be rendered the district than to recommend the 
books listed in Volume X. 

When new books have been obtained for the 
library the teacher should take some favorable 
opportunity to tell the pupils about each of the 
books, or to read interesting extracts from them. 
Unused books are worse than no books. 

75 



VIII. CONTENTS AND PLAN OF 
"JOURNEYS THROUGH BOOK- 
LAND" 

(Volume X, page 440) 

Every teacher should read the eight pages that 
begin with page 440. As each feature of the 
books is described, take some volume and verify 
the comments. Learn where the tables of con- 
tents, the lists of illustrations, the glossaries and 
the index are to be found, so that you can turn 
to any one promptly when you wish to find it. 

You can spend several hours very profitably 
in a general study of the set. It is the almost 
universal custom of people who know books to 
give each a general examination before begin- 
ning to read it. In the case of a set of books 
it is highly advantageous to look through each 
volume sufficiently to gain a comprehensive idea 
of the whole series. There is a certain unity and 
harmony pervading the volumes. In this set 
the ten are a unit, but it is a unit composed of 
ten units. Each volume has its individual pe- 
culiarities, but all the books are harmonious. The 
purpose of the first examination is to learn the 
secret of the unities, to understand the peculi- 
arities, and to appreciate the harmony. 

Cross-references in books are intended for 
service, and the teacher will do well to accustom 
himself to the habitual use of them. References 
from the Manual to Journeys will be so fre- 
quent that the former will be of little value with- 
out the latter. 

76 



"JOURNEYS" IN THE 
CLASSROOM 



"JOURNEYS" IN THE CLASSROOM 

INTRODUCTION 

To the teacher, the greatest value of Journeys 
Through Bookland undoubtedly lies in the as- 
sistance it gives in the teaching of reading, in the 
broadening and deepening of culture and in the 
formation of right habits, the development of 
character. Yet as soon as that is said we begin 
to think of the other uses to which the books 
may be put and we are tempted to modify the 
statement. There is not a branch of school work 
in which Journeys may not be used with profit, 
and in some its profit is inestimable. 

Perhaps you will say that it cannot be used in 
arithmetic classes. Doubtless there is very little 
use for the books in that branch, but there are 
several selections of a mathematical turn and nu- 
merous stories which require the same style of 
reasoning that is employed in arithmetic. Even 
among the nursery rhymes is one that is purely 
arithmetical (Volume I, page 35). Three Sun- 
days in a Week (Volume VII, page 255) and 
The Gold Bug (Volume X, page 172) are sto- 
ries of the type that require mathematical rea- 
soning. However, the real value and assistance 
to the pupil in arithmetic comes in that style of 
study which is discussed in this Manual and 
in Talks with Parents (Volume X, page 375), 
under the title Close Reading. But let us pro- 
ceed to subjects of greater importance. 

It is in reading, language, geography and his- 
tory that we find Journeys Through Book- 
land of the greatest assistance. 

79 



I. READING 

(Volume I, pages 3-56) 

The prime motive of Journeys Through 
Bookland is to teach through reading. It gives 
many standard and classic masterpieces and fur- 
nishes abundance of material for reading. Ac- 
companying many of the selections are studies 
and comments intended to encourage intelligent 
and appreciative reading on the part of the chil- 
dren. All of this, selections, comments and 
studies, is available for class use. In Volume X, 
beginning on page 355, under the head of Talks 
with Parents, this matter is systematized for 
parents, but it is equally helpful for teachers. 
Accordingly, the first part of this Manual is 
based on the Talks with Parents and presents the 
whole subject from the teacher's standpoint. The 
major portion of that section is given up to the 
various phases of literary reading, and accord- 
ingly it is unnecessary to continue the subject 
here. The topic Journeys in the High School, in 
this Manual, also contains some good sugges- 
tions on reading. 

NURSERY RHYMES 

When a child is taught the little nursery 
rhymes which seem to be meaningless jingles 
he is really peeping into the fields of literature, 
taking the first steps in those journeys that will 
end in Shakespeare, Browning and Goethe. 



Reading 81 

When his infantile ear is caught by the lively 
rhythm and the catchy rhymes, he is receiving his 
first lessons in poetry. That the lessons are de- 
lightful now he shows by his smiles, and in mid- 
dle life he will appreciate the joy more keenly 
as he teaches the same little rhymes to his own 
children. 

Most children know the rhymes when they 
come to school and they will like to read them 
there, A child's keenest interest is in the things 
he knows. Later, perhaps in the high school or 
the grammar grades, he will be interested again 
in learning that the rhymes are not wholly friv- 
olous and that there may be reasons why these 
rhymes should have survived for centuries in 
practically unchanged forms. Some of the facts 
that may be brought out at various times are the 
following : 

I. There is a hidden significance in some of 
the nursery rhymes. For instance: 

a. Daffy-Down-Dilly (page 3). In England 
one of the earliest and most common of spring 
flowers is the daffodil, a bright yellow, lily-like 
blossom, with long narrow green leaves all grow- 
ing from the bulb. The American child may 
know them as the big double monstrosities the 
florist sells in the spring, or he may have some 
single and prettier ones growing in his garden. 
The jonquil and the various kinds of narcissus 
are nearly related, white or white and pink flow- 
ers. The picture on page 3 of Journeys 
Through Bookland shows in the lower left- 



82 Reading 

hand corner a few daffodils growing. In the pic- 
ture, too, may be seen some old English houses 
which help to indicate where this rhyme orig- 
inated. 

Miss Daffy-Down-Dilly, then, in her yellow 
petticoat and her green gown, is the pretty 
flower; and the rhyme so understood brings a 
breath of spring with it. 

b. Humpty Dumpty (page 26). This is 
really a riddle of the old-fashioned kind. There 
are many of them in English folk lore. Usually 
a verse was repeated and then a question asked ; 
as, "Who was Humpty Dumpty?" The artist 
has answered the question for us in the picture. 
Possibly many people who learned the rhyme in 
childhood never thought of Humpty as an egg. 

What answer would you give to the question, 
Who was Taffy (page 51)? For similar rid- 
dles, see Nancy Netticoat (Volume I, page 
105), The Andiron (page 176) and St. Ives 
(page 210). 

II. Some were intended to teach certain 
facts. For instance : 

a. When children were taught the alphabet 
as the first step to reading, The Apple Pie (page 
23) gave the letters in their order, including the 
obsolete "Ampersand." 

b. As children grew a little older and could 
begin to read what they already knew, things in 
which the same words were many times repeated 
were helpful. Two examples are The House that 
Jack Built (page 37) and There Is the Key of 
the Kingdom (page 33) . 



Reading 83 

c. The numbers from one to twenty were 
taught by One, Two (page 35). 

d. The days of the week were taught by 
Solomon Grundy (page 30), which with its 
amusing provision for repetition is sure to catch 
the fancy of a child and keep his thoughts on the 
words. 

III. Some of them teach kindness to animals : 

a. Dapple Gray (page 54). 

b. Ladybird (page 12). This is sometimes 
known as ladybug, and the bug is the little, 
round, reddish beetle whose wings are back-dot- 
ted. It is a pretty, harmless beetle that garden- 
ers like to see around their plants. Children re- 
peat the rhyme when they find the beetle in the 
house and always release it to "fly away and 
save its children." 

c. Poor Robin (page 27). 

d. Old Mother Hubbard's amusing adven- 
tures with her dog (page 28) leave a very kindly 
feeling toward both. 

IV. Some are philosophical, or inculcate 
moral precepts or good habits, in a simple or 
amusing way. 

a. Early to Bed (page 8) . 

b. Little Bo-Peep (page 19). Is it not bet- 
ter to let cares and worries alone? Why cry 
about things that are lost? 

c. Three Little Kittens (page 34) suggests 
care for our possessions. 

d. There Was a Man (page 36) has the same 
idea that we often hear expressed in the proverb, 
"A hair from the same dog will cure the wound." 



84 Reading 

e. Rainbow in the Morning (page 41) has 
some real weather wisdom in it. 

/. There Was a Jolly Miller (page 43) gives 
a good lesson in contentment. 

g. A Diller, a Dollar (page 45) . 

h. See a Pin (page 21) suggests in its harm- 
less superstition a good lesson in economy. 

i Little Boy Blue (page 7) makes the lazy 
boy and the sluggard unpopular. 

j. Come, Let's to Bed (page 6) ridicules 
sleepiness, slowness and greediness. 

V. Mother's loving care, at morning and 
evening, when dressing and undressing the baby 
or when putting the little folks to bed, have 
prompted several of the rhymes : 

a. This Little Pig (page 4) the mother re- 
peats to the baby as she counts his little toes. 

b. Pat-a-Cake (page 9) is another night or 
morning rhyme; and here mother "marks it with" 
the initial of her baby's name and puts it in the 
oven for her baby and herself. Another of simi- 
lar import is: Up, Little Baby (page 10). 

c. Diddle, Diddle, Dumpling (page 41) has 
kept many a little boy awake till he was safely 
undressed. 

d. What an old rhyme must Bye, Baby 
Bunting be (page 11) ! It goes back to the days 
when "father went a-hunting, to get a rabbit skin 
to wrap baby Bunting in." Some one, more re- 
cently, has added the idea of buying the rabbit 
skin. 

e. The simple little lyric which closes the sec- 
tion of Nursery Rhymes (page 55) has filled 



Reading 85 

many a childish soul with gentle wonder, and 
many a night-robed lassie has wandered to the 
window and begged the little stars to keep on 
lighting the weary traveler in the dark. 

VI. Some of the rhymes are pure fun, and, 
as such, are worthy of a place in any person's 
memory : 

a. There Was an Old Woman (page 10) ; 
Great A (page 11) ; Jack Be Nimble (page 12) ; 
To Market, to Market and There Was a Monkey 
(page 20) ; Goosey-Goosey (page 22) ; Hey, 
Diddle, Diddle (page 25) ; There Was a Bat 
(page 26), and others, belong to this category. 

fo. Three Blind Mice (page 45) is an old- 
fashioned Bound. Many a band of little folks 
has been divided into groups and sung the non- 
sensical rhymes until every boy and girl broke 
down in laughter. Do you poor modern teachers 
know how it was done? The school was divided 
into a half-dozen sections. The first section be- 
gan to sing and when its members reached the 
end of the first line, the second section began; 
the third section began when the second reached 
the end of the first line, and so on till all sec- 
tions were singing. When any section reached 
the word "As " they began again at the be- 
ginning. The first line was chanted in a low, 
slow monotone, the others were sung as rapidly 
as possible to a rattling little tune on a high 
pitch. Imagine the noise, confusion and laugh- 
ter. Many a dull afternoon in school has been 
broken up by it, and countless children have re- 



86 Reading 

turned to their little tasks with new enthusiasm. 
The old things are not always to be scorned. 

c. Old King Cole (page 48) is a jolly rhyme, 
and the illustration is one of the finest in the 
books. Everybody should study it. 

VII. Two, at least, of the rhymes are of the 
"counting out" kind. Often children want to de- 
termine who is to be "It" in a game of tag, who 
is to be blinded in a game of hide-and-seek, or 
who takes the disagreeable part in some other 
play. They are lined up and one begins to "count 
out" by repeating a senseless jingle, touching a 
playmate at each word. The one on whom the 
last word falls is "out," safe from the unpleasant 
task. One at a time they are counted out till 
only the "It" remains. 

Wire-brier (page 49) and One-ery, Two-ery 
(page 5) are examples. The artist has shown 
a group being counted out, in his very life-like 
picture on page 49. 

VIII. There are some errors in grammar in 
the rhymes, many words you cannot find in a dic- 
tionary, and some of the rhymes may seem a little 
coarse and vulgar; but they have lived so long 
in their present form that it seems almost a pity 
to change them. Encourage your older pupils 
to find the errors and to criticise and correct 
as much as they wish. Probably they will not 
like the rhymes in their new form and correct 
dress any better than we would. 

IX. There is really a practical value, too, in 
a knowledge of the nursery rhymes. Allusions 
to them are found in all literature and many a 



Reading 87 

sentence is unintelligible to him who does not 
recognize the nursery rhyme alluded to. It would 
be safe, almost, to say that not a day passes in 
which the daily papers do not contain allusions 
to some simple little lines dear to our childhood. 
They are not to be sneered at: they are to be 
loved in babyhood and childhood, understood in 
youth, and treasured in middle life and old age. 



II. LANGUAGE. 

In the discussion of reading in this Manual 
there are numerous allusions to the teaching of 
language, but it may be well to present the 
subject in a more systematic manner. 

There are two distinct phases of the teaching 
or language ; pupils must be taught to speak and 
to write with ease, fluency and correctness. There 
are very few childen who do not like to talk. It is 
as natural to them as to breathe. But as soon as 
they begin to speak we begin to correct their 
speech. Much of our criticism is given publicly, 
at least before other children, some of whom are 
known to speak more fluently and correctly than 
those whose errors aie being criticized. In con- 
sequence, the children begin to doubt them- 
selves, to hesitate, and gradually to lose their 
desire to talk. In fact, so timid and reluctant do 
they become that by the time they have been in 
school a few years many teachers find their 
greatest difficulty in getting pupils to recite well 
or to talk naturally. Perhaps before and after 
school and at recess they will converse freely and 
delightfully, but as soon as their classes are called 
they become reticent and ill at ease. Not all of 
this lack of spirit is due to the teacher, but some 
of it is. In any event it is an unfortunate con- 
dition, and the teacher is anxious to remove it. 

In a lesser degree, perhaps, the same facts are 
true in written language, in composition. But in 



Language 89 

lessons of this type the teacher will not find con- 
ditions so favorable : Talking is natural, writing 
is artificial; to speak is instinctive, to write is an 
art of difficult attainment. In the first place, a 
child must be taught to form strange characters 
with his hand. After he acquires facility in that, 
he must think, put his thoughts into words in his 
mind, and then laboriously transfer his words, 
letter by letter, to the paper before him. Many 
a child who talks well, cannot write a respectable 
letter. His thoughts outrun his hand, and by the 
time the first labored sentence is written his ideas 
have fled and he must begin again. Is it any 
wonder that his sentences are disconnected, his 
thought meager ? 

Just think what it means to a child to write 
you a letter, or even a brief paragraph ! Suppose 
he wants to tell you about a dog he has at home. 
He begins by thinking: "My dog, Ben, is a 
pretty little woolly fellow with bright eyes and 
long silky ears," and then his thoughts run off 
vaguely into the general idea that he is going to 
tell you about some very cute tricks Ben can per- 
form. The child is all enthusiasm and he begins 
writing and thinking something like this: "My 
(that word must begin with a capital letter) dog 
('Ben' must begin with a capital, too,) Ben is a 
(is that 'pritty' or 'pretty'? It's pronounced 
'pritty' anyhow) pritty (that don't look right. 
Scratch it out!) pretty (well, that don't, I mean 
doesn't look right either, but I'll leave it.) (For 
goodness sake, how do you spell it? 'Wooly'? 
'wolly'? 'woolly'? I guess I had it right at 



90 Language 

first.) wooly fellow (where shall I put the com- 
mas? I'll leave 'em out. Teacher can put them 
in if she wants them. ) with bright eyes and long 
slicky (no, no, that isn't right! How funny! 
Scratch it out.) silky ears. (I nearly forgot the 
period. Now what was I going to say next?)" 
When he is through his first sentence is like this : 
"My dog Ben is a pretty little wooly fellow with 
bright eyes and long silky ears." He looks at 
his work with doubt and disgust as he scratches 
his head for the next idea. He has wholly for- 
gotten what he intended to tell about ! Later, his 
work, wholly unsatisfactory to himself, comes to 
you for criticism and you take your blue pencil 
or your pen with red ink and put in the marks if 
any are needed, indicate the misspelled words 
and sigh as you say, "Will Charlie ever learn to 
write a decent composition?" Certainty he will, 
when his writing becomes mechanical, when his 
hand makes the letters, puts in the marks, and his 
lower brain spells the words for him, without dis- 
turbing the higher cells which are occupied with 
his ideas. 

The diverse problems that confront a teacher 
of language have been stated. We cannot solve 
them, but most certainly we can help her on her 
way. 

A. Oral Lessons 

Success in oral language lessons rests primarily 
upon interest. If you can secure interest, the 
pupils will talk freely ; if you retain interest, you 
can criticize freely and with good effect. 



Language 91 

Criticisms should not be too severe and should 
always be impersonal. It is not John and Mary 
who are being corrected, but the mistakes that 
John and Mary make. You have heard teachers 
say, "John, why will you persist in saying, 'I 
done it!' Don't you know that is wrong? You 
must correct yourself." Such criticism is wholly 
bad. If John says, "I done it" it is because he 
has heard the expression and become habituated 
to its use. He cannot be taught differently by 
berating him. When he says, "I done it," repeat 
after him in a kindly inquiring voice, "I done it?" 
or say in a kindly way, "I did it." In either case 
John will give you the correct form willingly, and 
when he has done so times enough he will forget 
the wrong form and cease to use it. 

Every teacher must remember that children 
have heard slang and incorrect speech almost 
from, infancy; that the playground, the street 
and the home have been steadily teaching, and 
that the minds of even primary children may be 
filled with not only loose forms of speech, but 
even with profane and indecent expressions. One 
of the natural correctives for such things is the 
reading and telling of attractive stories, full of 
dramatic power, calculated to stimulate right 
feeling, couched in clear and forcible English. 
Elsewhere in this Manual, under the title Story- 
Telling, are suggestions and models that will help 
the teacher. 

From the standpoint of the language lesson, 
pupils must reproduce the story, must "tell it 
back" to make it valuable to them. The teacher's 



92 Language 

part in this reproduction may be summed up as 
follows : 

1. Give the pupil an interested audience, if 
only yourself or a pupil who has been absent. 

2. Secure clearness. Do it by a gentle ques- 
tion or a remark now and then: "I am not sure 
that I understand you." "Do you think Mary 
would know what you mean if she had never 
read the story?" "If you were telling the story 
to your mother would she understand that?" 

3. Encourage the pupils to use their own 
words, when they follow too closely the phrase- 
ology that was given them, yet remember that 
one of the objects of the exercise is to give the 
pupils the use of a wider vocabulary and to make 
them appreciate and use beautiful and forcible 
expressions. 

4. Be reasonably content with freedom of 
expression at first, and do not expect too japid 
improvement. You are moving against fixed 
habits. 

5. Vary the character of the recitation. Some- 
times permit one child to tell the whole story; at 
other times, call upon many children, one taking 
up the story where the other dropped it. 

6. If the story is a difficult one, do not ask 
for its reproduction until it is thoroughly under- 
stood. Make its meaning clear by skillful ques- 
tioning, which with the answers makes an ex- 
tremely valuable conversation lesson. 

7. Encourage the use of beautiful expres- 
sions, of fine figures of speech. Do it by using 






Language 93 

such expressions yourself and by pointing them 
out in the story or poem you are using. 

8. Beware of spoiling a beautiful poem or an 
elegant prose selection by poor reproduction. 
After the story has been related and the meaning 
made clear have the original read several times 
exactly as it is written and encourage the pupils 
to commit it to memory. 

There are in Journeys Through Bookland 
many selections suitable for these oral lessons. 
For the little folks there are some of the Nursery 
Rhymes, of Volume I, like the following: 

Little Boy Blue, Page 7. 

Mary, Mary, Quite Contrary, Page 8. 

Ladybird, Ladybird, Page 12. 

Little Bo-Peep, Page 19. 

Jack and Gill, Page 21. 

Poor Robin, Page 27. 

There Was a Jolly Miller, Page 43. 

Twinkle, Twinkle, Little Star, Page 55. 

In the same class may be included those beau- 
tiful poems by Stevenson and Riley, poems that 
every child loves and will be delighted to talk 
about. For instance, the following from the same 
Volume : 

The Swing, Page 64. 

Singing, Page 73. 

The Rock-a-by Lady, Page 89. 

My Bed is a Boat, Page 124. 

Foreign Lands, Page 127. 

Little Blue Pigeon, Page 130. 

The Land of Counterpane, Page 143. 



94 Language 

Norse Lullaby, Page 253. 
Where Go the Boats? Page 265. 
Wynken, Blynken and Nod, Page 272. 
Keepsake Mill, Page 363. 
The Duel, Page 400. 

The last list, however, includes many of those 
poems which must not be spoiled by childish re- 
telling. Use them for conversation subjects and 
then for reading or recitation. 

The fables will be found to provide excellent 
material, and there need be no fear of ruining 
their effect as literature : 

The Lion and the Mouse, Volume I, page 69. 

The Wolf and the Crane, I, 91. 

The Lark and Her Young Ones, I, 128. 

The Cat and the Chestnuts, I, 141. 

The Sparrow and the Eagle, Volume II, 8. 
Certain of the fairy stories are excellent ; so are 
anecdotes concerning men of whom the children 
should know; historical tales, and stories about 
plants, birds and other animals. Among the 
great number of selections that might be included 
under this head, some of the best are the follow- 
ing: 

1. Fairy Tales and Folk Stories : 

Silverlocks and the Three Bears, Volume 
1,96. 

The Hardy Tin Soldier, I, 147. 

Cinderella, I, 231. 

The Ugly Duckling, II, 43. 

Why the Sea is Salt, III, 51. 

The Pied Piper of Hamelin, IV, 30. 



Language 95 

2. Biographical Stories : 

Robert Louis Stephenson, Volume I, 125. 

Eugene Field, I, 249. 

George Rogers Clark, VII, 221. 

Pere Marquette, IX, 1. 

3. Myths: 

The Wonderful Gifts, Volume I, 384. 

The Chimera, II, 208. 

The Story of the Phaethon, II, 245. 

4. Historical Tales : 

Robert Bruce and the Spider, Volume VI, 

40. 
The Fall of Alamo, IX, 23. 
Herve' Kiel, IX, 53. 

5. About Flowers and Plants: 
The Daffodils, Volume VII, 287. 

Trees and Ants That Help Each Other, 

VIII, 140. 
A Bed of Nettles, IX, 131. 

6. About Birds : 

Who Stole the Bird's Nest? Volume II, 439. 
Owls, X, 169. 

7. About Other Animals : 
Elephant Hunting, Volume VII, 180. 
The Buffalo, VII, 395. 

The Pond in Winter, VIII, 111. 
The longer stories you will abbreviate in tell- 
ing, and the children will still further shorten 
them. Try, however, to retain the spirit of each. 
Do not try to tell all that is contained in the 
longer articles mentioned above. Select interest- 
ing portions, a single anecdote, a few facts that 
will hold attention. 



96 Language 

At times vary the exercise by giving a very 
simple theme and ask the children to make up a 
story to fit it. If they have difficulty, help them 
to think and talk. When they see what you want, 
some will surprise you with their vivid imagina- 
tions and picturesque modes of expression. Sup- 
pose you have in mind the fable The Wind and 
the Sun (Volume I, Page 90) . You might pre- 
sent the idea to them in this form: "The Wind 
and the Sun each tried to make a man take off 
his coat. The Wind tried and failed, then the 
Sun tried and succeeded. Can you tell me a story 
about that?" If you meet with no satisfactory 
response, begin questioning somewhat in this 
style, and perhaps your pupils will answer nearly 
as indicated : 

Teacher. You don't know what I mean? 
Then let us tell it together. How do you think 
the Wind would try to make a man take off his 
coat ? 

John. He would try to blow it off. 

Teacher. How would he blow? 

John. He would blow hard. 

Teacher. Can you think of another word 
besides hard to show how he would blow? 

John. Fierce. 

Teacher. Fiercely. Yes, 'fiercely' is a good 
word. How fiercely would he blow ? 

John. Very fierce. 

Teacher. Yes, very fiercely. Did you notice 
I said "fiercely," John? Now can't you think of 
a comparison with something else that is fierce, 



Language 97 

so that our story will sound well and people will 
like it? 

John. A lion is fierce. We could say, "He 
blew as fiercely as a lion?" 

Teacher. But a lion does not blow. What 
does he do ? 

John. He tears his prey when he captures it. 

Teacher. That's good. Now tell me how the 
Wind tried to make the man take off his coat. 

John. The Wind blew fiercely as a lion tears 
his prey. 

Teacher. Good. Did the man take off his 
coat, Mary? 

Mary. I don't think he did. I think he would 
try to keep it on. 

Teacher. How hard do you think he would 
try? 

Mary. As hard as he could. 

Teacher. Did he lose it ? 

Mary. No. No matter what the Wind did I 
think the man would keep on his coat. 

Teacher. Will you please tell the story as far 
as we have gone ? 

Mary. The Wind and the Sun tried to make 
a man take off his coat. First the Wind blew as 
fiercely as a lion tears his prey, but the man 
clung more closely to his coat and would not let 
it go. 

Teacher. That is good, but it does not satisfy 
me yet. I want a longer, prettier story. Let us 
make believe the Wind and the Sun are two men. 
Make them talk so they will seem real to us. 
Can't you start us, Paul ? 



98 Language 

Paul. One day Mr. Wind and Mr. Sun got 
to talking. Each one thought he was stronger 
than the other. They saw a man walking along 
the road. He had a big overcoat on and Mr. 
Wind said that he 

Teacher. Tell us exactly what Mr. Wind 
said. 

Paul. Mr. Wind said, "I am stronger than 
you are. I can make that man take off his coat. 
You can't!" 

Teacher. That is a fine start, Paul. Kate, will 
you tell us what the Sun said ? 

Kate. The Sun said that he 

Teacher. "That he"? 

Kate. The Sun said, "I can make him take 
off his coat, and I can do it quicker than you 
can." 

Teacher. Good. Go on, Kate. 

Kate. So they tried. Mr. Wind began. He 
blew as hard as he could and whistled around the 
man. He blew as fiercely as a lion tears his prey, 
but the man wouldn't take off his coat. 

Teacher. What would the man do to his coat? 

Kate. I think he'd hold on to it, button it up, 
draw it close around him. 

Teacher. Good. Very good. Xow, Will, tell 
the story as well as you can. 

Will. Begin at the beginning? 

Teacher. Yes. 

Will. One day Mr. Wind and Mr. Sun got 
into a quarrel about who was the strongest. While 
they were at it, a man in a heavy overcoat came 
walking along the road. When Mr. Wind saw 



Language 99 

the man he said, "Now see that man down there. 
I can make him take off his coat, but you can't." 
Mr. Sun replied, "I don't believe you can do it, 
but I can, though," Then Mr. Wind said, "Well, 
I'll show you, you conceited thing!" So the Wind 
blew and blew, fierce and loud like a lion attack- 
ing his prey, but the man wouldn't take off his 
coat. He drew it around him and buttoned 
it up and hung on to it. 

Teacher. I like your story, Will. But how 
many people were talking? 

Will. Two. 

Teacher. Did you mean to say "strongest"? 

Will. Stronger. 

It is not necessary to continue this farther, for 
enough has been written to show how a story may 
be developed and improved with each retelling. 

The same style of work, perhaps to even better 
advantage, may be done from the pictures so 
numerous in Journeys Through Bookland. 
In the Manual and in Talks With Parents 
(Volume X, Page 389), under the title Pictures 
and Their Use, will be found plentiful sugges- 
tions that will be helpful in conversation lessons. 

B. Written Language. 

I. Introduction. 

The demands of written composition are so 
much more severe than those of oral composition 
that the teacher must be careful not to ask more 
than the pupil can execute with comparative ease. 
Before he begins to write, he should have clear 



100 Language 

ideas of what he intends to write and should have 
those ideas so arranged that they will not be con- 
fused in the process of writing. Moreover, a pupil 
must become quite familiar with writing as an art 
before he can be expected to originate ideas or 
forms of expression for the purpose of writing 
them. It follows, then, that some of the early 
written work in language may profitably consist 
of copying selections of various kinds. 

The titles given under the preceding section 
(Oral Language) will lead the teacher to many 
excellent exercises for this purpose. Insist on 
perfect accuracy of copy. Spelling, capitalization 
and punctuation must be correct. If the original 
is prose, insist upon proper paragraphing; if 
poetry, upon exactness in the arrangement of the 
lines, especially in the matter of indentation. 
Pupils will quickly see the relation that indenta- 
tion bears to rhymes. By following with exact- 
ness, the pupil learns unconsciously to observe the 
general rules. By occasionally calling attention 
to the reasons for forms, pupils are taught to act 
intelligently and to decide for themselves when 
they come to original composition. 

Rhythm is as natural as breathing, and rhym- 
ing is easy for children with quick ears and quick 
thought. You will be surprised the first time you 
try the exericse to see how quickly they will 
imitate a rhythm with which they are familiar, 
and the skill they show in making rhymes. Try 
it first as an oral exercise, and later ask for writ- 
ten lines. Much of such work may not be profit- 
able, but it serves well to give variety. Making 



Language 101 

simple parodies is amusing and stimulating to 
thought. Sometimes you will help by suggesting 
rhymes or by giving hints as to the subject to be 
parodied. 

Take the nursery rhyme There Was an Old 
Woman (Volume I, Page 10) for a model. Sug- 
gest bird and nest as ideas for new rhymes and 
keep helping until you get something like this : 

There was a sweet birdie 

Who built a fine nest, 
A beautiful birdie 

With a very red breast. 

Use the same meter many times over till all 
become familiar with it. Similar exercises prove 
highly interesting to pupils of all ages. 

Although this is not a treatise on written lan- 
guage lessons, a few general suggestions may 
not be out of place : 

1. Be sure that the pupils have something 
interesting about which to write. 

2. Be sure that they have a good stock of 
ideas on the subject, or that they know how and 
where to get information and can get it without 
great difficulty. 

3. Be sure that they write an outline of their 
composition or have one thoroughly in mind be- 
fore they begin on the essay itself. 

4. Give plenty of time for the writing. 

5. Show a decided interest in their prepara- 
tion and in their compositions. 

6. Do not be severe in your criticisms. Give 
encouragement. Concentrate your efforts on one 



102 Language 

or two points at a time. Let other mistakes pass 
till a more convenient time. 

7. a. Watch for errors : 

( 1 ) In the use of capital letters. 

( 2 ) In the use of punctuation marks ; first 
of terminal marks, then of the marks within a 
sentence. 

b. See that every sentence is complete, with 
subject and predicate. 

c. See that verbs agree with subjects, and 
pronouns with antecedents. 

d. Insist that the work be paragraphed. 

e. Watch for errors in case among the pro- 
nouns. The objective case is troublesome. 

/. Look for adjective forms where adver- 
bial forms are correct. 

8. Require care in all work. Neatness and 
legibility are essential. 

9. Mark errors, do not correct them. Let the 
pupils do that. A simple system of marks will 
enable you t3 indicate the nature of the error. 

10. When the mistakes have been corrected, 
have a neat copy made and preserved. 

11. Try sincerely to work with your pupils 
and to secure a genuine spirit of co-operation. 

II. Literature in Written Language Work. 

The skilful teacher draws her subjects for 
composition from many sources. She makes 
every lesson a language lesson, and from every 
study she finds material for written exercises. 
Here we are concerned with but one phase of the 



Language 103 

subject, viz: the use that may be made of litera- 
ture in the class room, and the aid that Journeys 
Through Bookland will give the enterprising 
teacher. 

Indirectly, all that is said on the teaching of 
reading in the Manual and in Journeys 
Through Bookland bears upon language, and 
the teacher is earnestly urged to consider it all 
carefully in that light. More directly, what has 
been written herein on the subject of conversation 
lessons and oral language is a necessary prelim- 
inary to any discussion of written work and 
should be used freely in the assignment and prep- 
aration of subjects for written exercises. The 
outlines for study in reading and the outlines of 
the oral lessons are easily modified to become 
very satisfactory outlines for compositions. The 
selections recommended for oral lessons are all 
adapted to written work. 

A. Narration. As in other instances in the 
Manual, however, it here seems wise to give a 
few suggestions specifically for the written exer- 
cises, and as a basis for such suggestions we will 
take selections from Journeys Through Book- 
land. 

Robin Hood has been an interesting character 
for many generations of school boys, and among 
the ballads concerning him (Volume IV, Page 
86 ) , are several good selections for reading to the 
class. Most of the pupils know something about 
Robin Hood and many of them have read full 
accounts, yet probably the old ballads are not 
familiar. The note on page 86 gives information 



104 Language 

about the ballads and tells what it is necessary to 
know about Robin Hood himself. Suppose we 
take as a subject the ballad on page 95, Robin 
Hood and the Stranger. The notes explain pe- 
culiar expressions and give the meanings of 
obsolete words. There is a manly, rough-and- 
tumble spirit in the ballad that boys like, and it 
is clean and wholesome, as well. 

Read the ballad to the pupils, explaining the 
more obscure words and phrases as you go along. 
Encourage the pupils to ask questions whenever 
they do not fully understand. Talk freely until 
you have made everything clear and have secured 
interest. Then read the whole ballad without 
interruption. Read with expression and enthusi- 
asm. Show the spirit and virility of the men. 

Then by questions bring out the facts of the 
narrative in logical order and, as they appear, 
have them written upon the blackboard, or have 
each pupil copy them for himself. They con- 
stitute the outline each is to write. Adapt the 
outline to the age and acquirements of the pupil ; 
make it as full or as brief as you please, but make 
it logical and complete. Let it be similar to the 
following : 

1 . Robin Hood goes hunting. 

2. He meets a well-dressed stranger, with 
scarlet stockings. 

3. The stranger kills a deer by a remarkable 
shot with his bow. 

4. Robin Hood invites the stranger to join 
his company. 



Language 105 

5. The stranger threatens Robin Hood. 

6. They prepare to fight with bows. 

7. Robin Hood thinks it a pity that either 
should be slain, and proposes to fight with broad- 
swords. 

8. Robin Hood strikes a heavy blow which 
the stranger returns with interest. 

9. Robin Hood feels great respect for the 
stranger's power, and asks who he is. 

10. The stranger proves to be Robin Hood's 
only nephew. 

11. They meet Little John, who wants to 
fight young Gamwell. 

12. Robin Hood compels peace, makes Gam- 
well second to Little John and names him 
Scarlet. 

Talk to the pupils freely after you have made 
the outline; advise them to make the story inter- 
esting, dramatic, and not too long. Show them 
that it is better to use direct discourse ; that is, to 
make the characters seem alive. The result will be 
a good narration, the simplest and most common 
form of written discourse. 

B. Description. To so describe a scene to 
another person that he may see it clearly and 
vividly is high art. It is necessary in narration 
and often lends strength to description and ex- 
position. Accordingly, it is one of the most 
important forms of composition and one on which 
every teacher should give her pupils a great 
amount of practice under close tutilage. In 
no other direction, perhaps, can Journeys 



106 Language 

Through Bookland be of greater assistance to 
teachers. 

I. In the first place, the pictures are a mine 
of subjects for description. The pictures them- 
selves may be described, and many of them will 
suggest other subjects for similar tasks. For in- 
stance, in Volume V, on page 398, is a picture 
of Sir Galahad when the Holy Grail appears to 
him. Some of the topics for description are the 
following : 

1. The picture, Sir Galahad. (For sugges- 
tions as to the description of pictures, etc., see 
the topic Pictures and Their Use, in Volume X, 
page 389, and the same topic in this Manual. ) 

2. The trees in the forest. 

3. The armor of Sir Galahad and the trap- 
pings of his horse. 

Again, in Volume V, on page 186, is the picture 
of Gulliver's Journey to the Metropolis, which 
gives us these topics : 

1. The picture. 

2. The cart on which the Lilliputians trans- 
port Gulliver. (Read the account in the story for 
further facts.) 

Facing page 288 in the same volume is the 
halftone of King Arthur in armor. To write a 
minute description of the armor would be an ex- 
cellent exercise, requiring close observation and 
not a little reading, if the pupils wish to name 
the pieces of armor the king wears. 

II. Many of the stories contain beautiful de- 
scriptive passages which may be studied with 
profit, and some of the selections are almost 



Language 107 

wholly descriptive. An excellent example of the 
latter type and an exceedingly interesting article 
for children is Some Children's Books of the Past 
(Volume V, Page 275). 

The King of the Golden River (Volume III, 
Page 136) and A Christmas Carol (Volume VII, 
Page 27) are especially rich in material of this 
kind. On page 139 of the former selection the 
King is described at his first appearance. An 
analysis of the paragraph is to be found on page 
178 of the same volume, under the title First 
Appearance. By comparing the analysis and the 
descriptive paragraph it will be seen that the 
former gives the facts only, while in the latter 
there are comparisons and descriptive words that 
make the whole vivid and artistic. 

The outline is a good description of an imag- 
inary person. After the pupils have studied 
paragraph and outline, place on the board 
another outline like this: 

1. General statement, or introduction. 

2. Nose. 

3. Cheeks. 

4. Eyes. 

5. Beard. 

6. Hair. 

7. Height. 

8. Clothing. 

a. Hat. 

b. Coat. 

c. Vest. 

d. Trousers. 

e. Shoes. 



108 Language 

Require each pupil to follow the outline and 
to write a smooth, readable description of a man 
whom he knows. Vary the exercise by asking 
the pupils to describe some man whose picture 
you show ; some man whom all have seen, or, if it 
can be done in the proper spirit, one of the other 
pupils who is willing to pose. Then ask them to 
describe some fanciful character about whom you 
make a general statement, as, for example, "He 
was the most amusing man I ever saw in my 
life," or, "He was certainty the most dignified 
man in appearance and the best-dressed man I 
ever saw." A comparison of the descriptions 
given by the different members of the class will 
be amusing and instructive. Try to secure de- 
scriptions which in style are in harmony with the 
subject. 

III. In many of the selections the authors 
have not tried to describe things very fully. In 
such cases you have fine opportunities to train the 
imagination by asking the pupils to supplement 
the descriptions. For instance, On the Receipt 
of My Mothers Picture (Volume VIII, Page 
168) raises among other subjects for descrip- 
tive writing the following: 

1. Describe Cowper's mother. 

2. Describe the picture he received. 

3. Describe the home of his infancy. 

4. Describe the "well-havened isle." 

Pupils should be taught to look through the 
entire poem for facts that bear on the topics. 
When writing, they must not misrepresent these 



Language 109 

facts nor give others that contradict those in the 
poem. Where nothing is said, the pupil may 
see what he likes. Such exercises tend to make 
students appreciate good literature, and, when 
they are reading, to visualize the things to which 
allusion is made. 

C. Exposition. In Volume IV, beginning 
on page 146, is the story of Martin Pelaez, the 
Asturian, which will offer good material for a 
composition of another kind. The introduction 
to Cid Campeador, page 140, will give you in- 
formation you are likely to need to answer ques- 
tions asked by the class. 

As in the exercise just given, begin to read and 
make such explanatory comments as are needed 
to show clearly the character of Martin. You 
will, of course, need to make the story lucid to 
the pupils, for from that must come the facts 
upon which they base their opinions. Show 
that 

a. Pelaez was a Spanish grandee of great 
strength and noble form. 

b. He was a coward at heart. 

c. Twice he ran from the enemy and avoided 
battle. 

d. Both times he was asked by The Cid to 
sit with him at the table, and not with the noblest 
knights. 

e. The first time Martin thought it an honor 
to himself; the second time, he saw it to be a 
grave reproof. 

/. Thereafter he fought nobly, was seated 



110 Language 

with the great knights, and became one of the 
Cid's most favored friends. 

When these points have been fixed in mind, 
proceed to develop an outline for the composi- 
tion. It may be something like this : 

a. The character of Martin as we first meet 
him in the story, with instances to prove the 
nature of it. 

b. His character after he was changed by 
The Cid, with evidences to show it. Exemplified : 

1. He was a coward. We know it from 

(a) His flight during the first battle. 

(b) His retreat during the second battle. 

(c) The fact that he was large, strong and 
well versed in arms yet would not fight. 

(d) The fact that he hoped to escape the 
notice of The Cid. 

2. He was teachable. We know it because 
he needed but two lessons. 

3. He was brave. We know it from his con- 
duct in battle. 

4. He had many noble characteristics. We 
know it because he became the trusted friend of 
The Cid. 

Put into the form of a composition, we might 
expect something like this: 

"Martin Pelaez, when we first knew him, was 
an arrant coward, for though strong, well-formed 
and versed in the use of arms, he more than once 
fled before the enemy. He had other traits of a 
coward, as we may know from his actions in 
hiding in his tent and hoping to escape the eye 



Language 111 

of his master and unfairly gain the reputation 
of a brave knight. 

"Later, however, under the wise treatment of 
The Cid he was made ashamed of his cowardice, 
conquered it and became a courageous warrior. 
In fact, he was one of the bravest and most pow- 
erful knights in the army of The Cid. 

"More than that, Martin Pelaez developed all 
the traits of a gentleman. He became a good 
keeper of secrets, was wise in counsel and brave 
in action." 

The foregoing is a good example of exposi- 
tion, the third of the four forms of prose com- 
position. 

D. Argument. — The Boston Massacre by 
Nathaniel Hawthorne (Volume IV, page 370) 
offers several good questions for debate. We may 
select the decision of the judges (page 376) as 
the one furnishing the best opportunity. Haw- 
thorne says, "The judges told the jury that the 
insults and violence which had been offered to 
the soldiers justified them in firing at the mob." 

To bring the question into a form for debate 
we might write it, "Were the judges right in 
their decision?" This leaves the question evenly 
balanced, with no prejudice against either side. 
It might be put more formally : "Resolved, That 
the j udges were right in their decision. ' ' The effect 
of stating the question in the latter form is to 
throw the "burden of proof" on the negative. 
In other words, if the question is in the latter 
form and the arguments are equally balanced, 
the decision would have to be that the judges 



112 Language 

were right. In school debates the, first form is 
preferable. 

Having determined the form of the question, 
the class may be divided into two sections, as 
nearly as possible equal in ability, and one sec- 
tion may be appointed to take the side of the 
judges and one the side of the soldiers. Occa- 
sionally appoint two leaders, let them "choose 
up" and then take sides by lot. Avoid discour- 
aging the weaker pupils, however. 

Having arranged the preliminaries, converse 
with the class freely, bringing out points equally 
in favor of both sides. Avoid any appearance 
of favoritism. If one side is manifestly stronger 
than the other, however, you may put them on 
a level bj^ showing a few arguments to the weaker 
side. Do this openly, so that all may understand 
your action. 

Encourage the pupils to study both sides of 
the question and to be fair-minded. In fact, the 
ordinary debate where pupils are appointed to 
argue upon a certain side of the question does 
not bring into play the same good methods of 
thought and judgment as the free debate, in 
which each pupil studies both sides of the ques- 
tion determines which side he thinks the right one, 
and then argues for that side. 

In this question urge the pupils to study the 
subject in their histories or in any reference 
books that may be handy. Help them to get at 
the truth of the matter. Hawthorne may show 
prejudice. Does he? We may feel a bias in 
favor of one side or the other. Do we? Then 






Language 



113 



to the extent of that bias we are liable to be 
unfair and to fail in making a sound argument. 

After the pupils have read what they can find 
on the subject, ask them to arrange their argu- 
ments in parallel columns, for and against the 
judges. Something like the following may ap- 
pear: 



FOR 

1. The Americans 
were the subjects of 
the English, and sub- 
jects should be loyal. 



2. The c o 1 o n i sts 
were not an organized 
body, acting legally. 
They were a wild mob, 
and mobs must be 
quelled or lives and 
property cannot be 
protected. 



3. The mob was 
c o m p o se d of wild 
young men, and most 
of the colonists did not 
approve of their acts. 



AGAINST 

1. The English had 
oppressed the colonists 
by unjust taxes and in 
other ways (mention 
them) until the time 
for loyalty had ceased. 

2. If these colonists 
were a mob they were 
justified in their acts. 
It was an insult and 
worse to quarter troops 
upon them, and they 
naturally resented it. 
They had had no time 
to organize and make 
laws. They had to act 
at once. 

3. It is always the 
young men who lead. 
In most great move- 
ments it has been the 
young men who were 
right. 



114 



Language 



for 



AGAINST 



4. The mob called 
the soldiers "lobster- 
back s," "red-coats," 
and other insulting 
names before the sol- 
diers spoke. 

5. The mob crowd- 
ed the soldiers off the 
sidewalk, threw snow 
and lumps of ice at 
them. The young men 
dared the soldiers to 
fire, threatened to drive 
them to their barracks 
and to beat them down. 

6. Captain Preston 
was acting under or- 
ders, and he warned 
the colonists that he 
would preserve order 
at any risk. 

7. The firing was a 
mistake. It was not 
by Captain Preston's 
orders. 

8. The first shot 
was fired by a masked 
man who appeared on 
the balcony of a house 
and fired at the sol- 
diers. 



4. The soldiers for- 
got their discipline and 
c a 1 1 ed the colonists 
"rebel rascals" and 
threatened to use bay- 
onets. 

5. The soldiers 
should have kept to 
their barracks, but they 
paraded the streets and 
pricked the townspeo- 
ple with their bayonets. 



6. Captain Preston 
was unwise, irritating, 
overbearing, and by his 
attitude provoked the 
colonists beyond hu- 
man endurance. 

7. Captain Preston 
ordered his men to fire 
on the colonists. 

8. A British sym- 
pathizer in a mask fired 
into the crowd of un- 
armed colonists. 



Language 



115 



FOR 

9. The British sol- 
diers were soon with- 
drawn and everything 
done to make the colo- 
nists feel right about 
the affair. This showed 
that the British were 
still very friendly to 
the colonists. 

10. Judges who are 
supposed to be honor- 
able men heard all the 
evidence and would not 
be liable to make any 
mistake. 

11. The judges 
were so thoroughly 
convinced that the sol- 
diers were not guilty 
that they told the jury 
what verdict to give. 



AGAINST 



9. By withdrawing 
the troops the British 
confessed that they 
were in the wrong. 



10. The judges 
were British appoint- 
ees, not in sympathy 
with the colonists and 
too much prejudiced to 
be able to decide fairly. 

11. The judges 
knew they were wrong 
and were afraid to 
leave the question to 
the jury. 



The "points" given above show some of the 
really minor debatable topics that arise under 
the larger question. They show, too, how dif- 
ferently the same incidents may appear to dif- 
ferent eyes. Perhaps some of the "points" are 
stated unfairly, to give strength to the argu- 
ment. Bare assertions are not proofs and some 
of the "points" are nothing but assertions. Opin- 
ions are not arguments. Some of the statements 



116 Language 

would need to be bolstered up by facts and ' 'au- 
thorities" before they could be accepted as real 
arguments. 

Most debates are oral, but, for our purpose, 
they are to be considered as written language 
lessons. Hence, when the arguments are mar- 
tialed as above, the pupil should select the side 
he feels to be right and compose his argument 
in proper form. Teach him to see the three 
parts to his argument, namely, the introduction, 
the body of his argument, and the conclusion. 
Tell him to make his style personal, clear, con- 
cise, logical, strong, persuasive and convincing. 
Show him what each characteristic in the above 
list means. 

For example, the argument for the judges 
made from the assertions given above might be 
stated as follows: 

Introduction. "That the judges were right 
when they pronounced Captain Preston and the 
eight British soldiers not guilty of murder when 
they fired on the colonial mob in what is incor- 
rectly called the 'Boston Massacre,' will be 
proved in this argument. 

Body of the Argument. "The citizens of Bos- 
ton were English subjects who had been fostered 
by the mother country. Since the settlement at 
Plymouth in 1620 no other nation had claimed 
or exercised any control over them, and I main- 
tain that loyalty to his country is one of the 
highest duties of every citizen. (It is not ad- 
visable to write here the 'body' of the argument. 






Language 117 

It would naturally be continued step by step till 
the eleven 'points' given above had been exhaust- 
ed. If those 'points' had been brought up in the 
general conversation lesson every pupil would be 
expected to add others that he had found by his 
own study. Liberty of omission, arrangement 
and addition should always be allowed. Origi- 
nality is always at a premium. ) 

Conclusion, "I have now presented to you 
the reasons for my belief. I have shown you 
conclusively that the colonists were British sub- 
jects and owed unquestioning loyalty to their 

country ; that ( Here recapitulate briefly but 

forcibly the arguments, so as to present them 
convincingly and at one time.) In view of all 
these facts I maintain that I have shown that 
the judges did not err when they pronounced 
Captain Preston and the eight soldiers not guilty 
of murder." 

Of course, it must not be understood that the 
form of the introduction and conclusion are to 
be kept as they are given here. Each pupil 
should be allowed the greatest freedom of ex- 
pression consistent with the facts that there 
must be an introduction that states the ques- 
tion fairly and clearly, and a conclusion that 
shows how the contentions have been proved. 

E. Conclusion. While narration, descrip- 
tion, exposition and argument are the four forms 
of prose composition, we do not find fre- 
quently that selections are exclusively the one 
or another. Nearly every story contains de- 



118 Language 

scription, and exposition is not infrequent; ex- 
positions often contain description and narra- 
tion, and arguments are often based upon nar- 
ration and exposition. Excellent language les- 
sons may be given by examining masterpieces 
to see what forms of composition they repre- 
sent or which form predominates. 

Thus, in An Exciting Canoe Race (Volume 
VII, page 376), an extract from Cooper's The 
Last of the Mohicans, may be found several 
forms of composition: 

1. The story as a whole is narration. 

2. On page 378 is this passage in exposition: 
"That is a trail that nothing but a nose can fol- 
low; grass is a treacherous carpet for a flying 
party to tread on, but wood and stone take no 
print from a moccasin. Had you worn your 
armed boots, there might indeed have been some- 
thing to fear ; but with the deerskin suitably pre- 
pared, a man may trust himself, generally, on 
rocks with safety. Shove in the canoe higher 
to the land, Uncas; this sand will take a stamp 
as easily as the butter of the Jarmans on the 
Mohawk. Softly, lad, softly; it must not touch 
the beach, or the knaves will know by what road 
we have left the place." 

3. On page 383 is this descriptive passage: 
"The well-known crack of a rifle, whose ball came 
skipping along the placid surface of the strait, 
and a shrill yell from the island interrupted his 
speech and announced that their passage was 
discovered. In another instant several savages 



Language 119 

were seen rushing into the canoes, which were 
soon dancing over the water in pursuit. These 
fearful precursors of a coming struggle produced 
no change in the countenances and movements 
of his three guides, so far as Duncan could dis- 
cover, except that the strokes of their paddles 
were longer and more in unison, and caused the 
little bark to spring forward like a creature pos- 
sessing life and volition." 

It will be observed that the paragraph just 
quoted is not purely descriptive, but that it con- 
tains something of narration as well. A single 
sentence of pure description is the following, to 
be found on page 386: "So rapid was the prog- 
ress of the light vessels that the lake curled in 
their front in miniature waves, and their motion 
became undulating by its own velocity." 

The following, from page 388, is a brief argu- 
ment in conversational form, the elementary form 
of debate: 

"Get you then into the bottom of the canoe, 
you and the colonel; it will be so much taken 
from the size of the mark." 

"It would be but an ill example for the high- 
est in rank to dodge, while the warriors were un- 
der fire!" 

"Lord! Lord! that is now a white man's cour- 
age! And, like too many of his notions, not to 
be maintained by reason. Do you think the Sag- 
amore or Uncas, or even I, who am a man with- 
out a cross, would deliberate about finding a 
cover in a scrimmage when an open body would 



120 Language 

do no good? For what have the Frenchers 
reared up their Quebec, if fighting is always to 
be done in the clearings?" 

"All that you say is very true, my friend; 
still, our custom must prevent us from doing as 
you wish." 

Good selections to use for the purposes de- 
scribed and good subjects for compositions are 
the following from Journeys Through Book- 
land: 

A. For Narration : 

1. Stories from The Swiss Family Robinson, 
Volume III, page 208. 

2. The Story of Siegfried, IV, 57. 

3. The Death of Hector, V, 47. 

4. Tom Brown at Rugby, VI, 208. 

5. The Recovery of the Hispaniola, VIII, 
194. 

6. The Adventure of the Windmills, VIII, 
289. 

7. The Adventure of the Wooden Horse, 
VIII, 320. 

8. The Battle of Ivry, VIII, 423. 

B. For Description: 

1. How the Old Woman Looked. See The 
Old Woman Who Lived in a Shoe, Volume I, 
page 13. 

2. The House in the Tree. See Swiss Fam- 
ily Robinson, III, 208. 

3. A Forest Scene. See Pictures of Mem- 
ory, IV, 272. 

4. Sheridan's Horse. See Sheridan's Ride, 
IV, 378. 



Language 121 

5. Christmas. See The Fir Tree, II, 95, and 
Christmas in the Old Time, VII, 150. 

6. A Scene of My Childhood. See The Old 
Oaken Bucket, VII, 298. 

7. My Old Kentucky Home. See poem of 
the same name, VII, 485. 

8. The Court of Lions. See The Alhambra, 
IX, 36. 

C. For Exposition: 

1. The Character of the Boy, Tom. See 
Tom, the Water Baby, Volume II, page 257. 

2. What Kind of a Man was Viking? See 
The Skeleton in Armor, VI, 54. 

3. Exaggeration and Falsehood. See Baron 
Munchausen, VI, 135. 

4. On the construction, meaning, and senti- 
ment in "Home, Sweet Home." See VII, 1. 

5. The Strength of the Gorilla Compared 
with That of the Elephant. See A Gorilla Hunt, 
VII, 74, and Elephant Hunting, VII, 180. 

6. The Wit of the Visitor. See Limestone 
Broth, VII, 271. 

7. A Character Sketch of Alice and John. 
See Dream Children, IX, 271. 

D. For Argument : 

1. Was the Second Traveler in the Right? 
See The Two Travelers, Volume I, page 104. 

2. Had Willie a Right to Break His Arrest? 
See Wee Willie Winkie, III, 189. 

3. Were the Three Men Perfectly Healthy? 
See We Plan a River Trip, VI, 179. 

4. Was the Punishment of the Ancient Mar- 



122 Language 

iner Just? See The Rime of the Ancient Mar- 
iner, VII, 321. 

5. Was It Sensible for Casibianca to Remain 
on the Burning Ship? See Casibianca, IX, 246. 

6. Should Warren Hastings Have Been Con- 
victed? See The Impeachment of Warren 
Hastings, IX, 439. 



III. NATURE STUDY 

Nature study to be valuable must be in real- 
ity the study of nature. Its beginnings are in 
observation and experiment, but there comes a 
time when the pupil must go to books for in- 
formation and enlightenment. The purposes of 
nature study in the school are to awaken a spirit 
of inquiry concerning things in the immediate 
vicinity and thence into wider fields; to develop 
observation, comparison and reason; to give in- 
terests that will charm the possessor through 
life; to introduce the elements of the natural sci- 
ences. Enthusiasts have made the study of na- 
ture the basis of all school work, the correlating 
force in all studies. Such an idea has merit in 
it, for it is certain that lessons begun in the ob- 
servation of living things and the phenomena 
of nature speedily ramify into language, read- 
ing, geography, history, and even mathematics. 

There is among some teachers an unfortunate 
tendency to go too much to books for material 
and to seize too quickly any suggestion that leads 
in that direction. Yet books are valuable at the 
proper time and in the proper place. When facts 
have been learned, they may be made vital by 
good literary selections; when facts not accessi- 
ble by observation are need, they may be ob- 
tained through books. On the other hand, na- 
ture is full of allusions to natural facts and phe- 
nomena and may only be understood by him who 

123 



124 Nature Study 

knows nature. Both phases of the subject are 
of vital interest to the teacher. 

Instead of attempting any systematic outline 
for nature study we will here try to give help on 
two problems only: 

First. How may nature study be broadened 
by the use of literature? 

Second. How may the study of nature help 
in the appreciation of literature? 

First. 

In trying to answer the first question we will 
present first a classified list of selections from 
Journeys Through Booexand which are close- 
ly related to the study of nature and indicate 
briefly how they may be used. 

A. Seven Long Selections. 

In the first place, there are long selections in 
which there are many anecdotes and incidents 
which are usable in nature study recitations. We 
will give partial lists of what is to be found 
therein, but the teacher will do well to read the 
whole selection and choose what she wishes. 

1. Tom, the Water Baby (Volume II, page 
257). This is one of the most charming stories 
in the book, especially for young children, though 
older ones and even people of mature years will 
enjoy it thoroughly. Tom, a little chimney 
sweep, after perilous adventures, dies, or rather 
turns into a newt or eft, a water baby. His 
exciting life thereafter is in the waters, where 
he meets many of its strange denizens. The 



Nature Study 125 

whole story is highly imaginative, humorous, and 
full of fine lessons, beautifully given. The more 
important of his adventures, from our point of 
view, are concerned with the following: 

The Caddis Fly, pages 308-310. 
The Dragon Fly, pages 311-313. 
The Sand Fly, pages 316-318. 
Otters, pages 320-323, 326-355. 
Salmon, pages 322, 329-333, 334-335. 
Tides, page 339. 
The Turbot, page 340. 
Lobsters, pages 344-346, 353-356. 
Sea Cucumbers, page 349. 
Great Auk, page 396. 

Mother Carey's Chickens (Stormy Petrels), 
page 399. 

2. Robinson Crusoe (Volume III, page 84). 
Two chapters only are given from this great 
story, but the first, dealing with the capture and 
education of Crusoe's man Friday, may be worth 
while to read in connection with studies of sav- 
age races. It is not altogether scientific. 

3. The Swiss Family Robinson (Volume II, 
page 208) . This famous old story will be charm- 
ing to children for many generations to come. 
It is a tale of the wonderful struggle of a family 
against nature. It may be a fact that it is un- 
reasonable and impossible ; that not all the seem- 
ing facts are true; that nature never plays so 
perfectly into the hand of man; that not all the 
living things mentioned are to be found in one 
locality. But it is clean, wholesome adventure, 
and the errors in it will do no harm. Many a 



126 Nature Study 

good language lesson and many an addition to 
nature lessons may be drawn from it. The ef- 
forts of the family to utilize what they find, 
though too successful, are worthy of imitation. 
Some of the more interesting things met by the 
family are the following: 

Lobsters, pages 222-223. 

Oysters, pages 223-224, 226-229. 

Agouti, page 224, with a picture on page 228. 

Cocoanuts, pages 232-239. 

Calabash Trees, pages 232-233. 

Monkeys and Cocoanuts, pages 235-239. 

Shark, pages 249-250. 

Turtle, pages 257-260. 

Penguins (picture), page 262, pages 263-264. 

Cassava Bread, pages 265-268. 

Caoutchouc, page 283. 

Onagra (Wild Ass), pages 286-288. 

New Zealand Flax, pages 290-293. 

Flamingo, pages 292-293. 

Salt Cavern, pages 297-300. 

Herrings, pages 302-304. 

Gypsum, page 304. 

Boa Constrictor, pages 308-309. 

Ostrich, pages 324-333. 

Hyenas, pages 344-345. 

Lions, pages 371-376. 

4. Brute Neighbors (Volume VIII, page 
88) is an interesting essay by Henry David 
Thoreau, the most delightful of American natu- 
ralist writers. In this essay he chats familiarly 
about the animals that surrounded his cottage 



Nature Study 127 

in the woods, and shows the closeness of his ob- 
servation as well as the breadth of his general 
knowledge. It is a nature study in itself as a 
whole. Besides mention of other animals, he tells 
interesting anecdotes of the following: 

A Wild Mouse, pages 89-90. 
The Partridge, as the ruffed grouse is called 
in New England, pages 90-92. 
The Woodcock, page 92. 
The Fighting Ants, pages 93-98. 
The Loon, pages 99-104. 

5. The Pond in Winter (Volume VIII, page 
111) . This is another of Thoreau's charming es- 
says in natural history. It contains a pretty de- 
scription of the snow and ice covered pond ( page 
111), an account of fishing through the ice 
(pages 113-114), and a vivid description of 
pickerel (pages 114-115). 

6. Winter Animals (Volume VIII, page 
126) is a third one of Thoreau's essays. An 
analysis shows that he tells something of all the 
following interesting things: 

I. Winter routes over lakes, pages 126-127. 

II. Sounds by day and night. 

a. The melodious note of a hooting owl, 

page 127. 

b. The honking of a goose, page 127. 

c. The harsh and tremulous call of a cat- 

owl, page 127. 

d. The whooping of the ice, page 128. 

e. The barking of foxes, page 128. 



128 Nature Study 

f . The feet of the red squirrel down the 

sides of the house, page 129. 

g. The discordant screams of the jays, 

page 131. 
h. The wiry note of the chickadee, page 

132. 
i. The whirring wings of the partridges, 

page 133. 
j. The yelping of hounds, and the hunting 

horn (including fox hunting), pages 

133-137. 

III. The destructiveness of squirrels and 
wild mice, pages 137-138. 

IV. The hares, pages 138-139. 

7. Ants and Trees That Help Each Other 
(Volume VIII, page 140) is a selection from 
the writings of Thomas Belt. It is an extremely 
interesting account of some of the curious adap- 
tations of plants and animals to each other, as 
is indicated sufficiently by the title. An out- 
line of the essay follows: 

I. A species of acacia, pages 140-144. 

1. Houses and feeds ants. 

a. Houses in thorns. 

b. Feeds (1) by glands and (2) by a 

pear-shaped appendage. 

2. Ants protect trees. 

3. Each seems beneficial to the other. 

II. A cecropia, or trumpet tree, pages 144- 
145. 

1. Houses and feeds ants. 



Nature Study 129 

a. Houses in hollow stems. 

b. Feeds ants through herds of plant- 

lice that suck juices of plants and 
secrete honey. 

2. Ants protect trees. 

3. Apparently beneficial to all. 

III. An evergreen shrub. 

1. Houses and (probably) feeds ants. 

a. Houses in pouches at base of leaves. 

b. Probably feeds ants through the serv- 

ices of scale insects and plant lice. 

2. Ants protect shrubs. 

3. Probably beneficial to all 

IV. Plants feeding ants, pages 146-148. 

1. Orchids. 

2. Passion flowers. 

3. Dog rose. 

B. Classified Selections 

The following selections, ranging from nurs- 
ery rhymes to some of the finest things ever 
written, may be considered available for the pur- 
pose of creating interest in nature study or of 
adding to a stock of knowledge already acquired. 
For convenience, they are classified in a general 
way, according to the subject matter of which 
they treat: 

I. Flowers and plant life: 

a. Nursery rhymes: 

(1) Daffy-Down-Dilly Has 



130 Natuke Study 



Come Up to Town, 
Volume I, page 3. 
(2) Mary, Mary Quite Con- 
trary, I, 8. 

b. Fables : 

( 1 ) The Boy and the Nettle, 
Volume I, page 66. 
(2) The Fox and the Grapes, 
I, 133. 

c. Fairy Tales: 

(1) The Tree, Volume I, 

page 263. 

(2) The Flaoc, I, 394. 

(3) The Fir Tree, II, 95. 

d. Poems : 

(1) The Reaper and the 

Flowers, Volume II, 
page 40. 

(2) Johns Pumpkin, III, 1. 

(3) The Potato, III, 57. 

(4) The Moss Rose, VI, 

345. 

(5) The Daffodils, VII, 

287. 

(6) To the Fringed Gen- 

tian, VII, 290. 

(7) To a Mountain Daisy, 

VII, 295. 

(8) The Petrified Fern, 

VII, 352. 

e. An interesting essay: 

(1) A Bed of Nettles, Vol- 
ume IX, page 131. 



Nature Study 131 

/. See references to The Swiss 
Family Robinson and Ants 
and Trees That Help Each 
Other, in the earlier part of 
this section. 



II. 



irds : 
a. Nursery rhymes: 


(i) ' 


Lady Bird, Lady Bird, 




Volume I, page 12. 


(2) 


Higgledy, Piggledy, I, 




15. 


(3) 


Poor Robin, I, 27. 


b. Poems 




(i) 


Little Birdie, Volume 




I, page 141. 


(2) 


The Brown Thrush, I, 




146. 


(3) 


The English Robin, II, 




253. 


(4) 


Who Stole the Bkd's 




Nest? II, 439. 


(5) 


Four Ducks on a Pond, 




VI, 345. 


(6) 


The Rime of the An- 




cient Mariner, VII, 




321. 


(7) 


Ode to a Sky Lark, 




VIII, 105. 


(8) 


To a Waterfowl, VIII, 




242. 


(9) 


The Romance of the 




Swan's Nest, IX, 248. 



132 Nature Study 

c. Fables : 

(1) The Fox and the Crow, 

Volume I, page 60. 

(2) The Fox and the Stork, 

I, 62. 

(3) The Wolf and the 

Crane, I, 91. 

(4) The Lark and Her 

Young Ones, I, 128. 

(5) The Owl and the Pussy 

Cat, I, 352. 

(6) Minerva and the Owl, 

11,6. 

d. Fairy Story: 

( 1 ) The Ugly Duckling, 
Volume II, page 43. 

e. An Essay: 

(1) Owls, Volume X, page 
169. 
/. See also references to Tom, the 
Water Baby, The Swiss Fam- 
ily Robinson, Brute Neigh- 
bors, and Winter Animals, in 
earlier part of this section. 

III. Four-footed animals: 

a. Nursery rhymes : 

(1) Ding Dong Bell, Vol- 

ume I, page 18. 

(2) Little Bo Peep, I, 19. 

(3) Old Mother Hubbard. 

I, 28. 



Nature Study 133 



(4) 


Three Little Kittens, I, 




34. 


(«)' 


Baa, Baa, Black Sheep, 




I, 43. 


b. Fables 




(1) 


T/i<? ,Fo<r and the Crow, 




Volume I, page 60. 


(2) 


The Ass in the Lions 




Skin, I, 61. 


(3) 


The Fooo and the Stork, 




I, 62. 


(4) 


The Gnat and the Bull, 




I, 66. 


(5) 


The Lion and the 




Mouse, I, 69. 


(6) 


The Wolf and the 




Crane, I, 91. 


(7) 


The Fooo and the 




Grapes, I, 133. 


(8) 


The Bat and the Two 




Weasels, I, 155. 


(9) 


T/b OwZ awa 7 £&£ Pussy 




Cat, I, 352. 


(10) 


T/fce Horse and the 




Stag, I, 353. 


(11) 


Tfo? Fotf, f fo flPoZ/, and 




Jfo Horse, I, 383. 


(12) 


Tfo? PFoZ/ and *fo 




Lamb, I, 455. 


c. Poetry 




(i) 


T/i^ Cow, Volume I, 




page 101. 



134 Nature Study 

(2) Mercy to Animals, II, 

39. 

(3) How They Brought the 

Good News from 
Ghent to Aix, VI, 62. 

(4) To a Mouse, VII, 292. 

d. Stories : 

(1) A Dog of Flanders, 

Volume IV, page 235. 

(2) The Lion and the Mis- 

sionary, VI, 340. 

(3) Rab and His Friends, 

VI, 346. 

(4) Elephant Hunting, 

VII, 180. 

(5) The Gorilla Hunt, 

VIII, 74. 

e. Essays : 

(1) Some Clever Monkeys, 

Volume, VII, page 
198. 

(2) The Buffalo, VII, 395. 
/. See, also, references to Tom, the 

Water Baby, The Swiss Fam- 
ily Robinson, Brute Neigh- 
bors, and The Pond in Win- 
ter, in the earlier part of this 
section. 

IV. Reptiles: 

a. Fables : 

( 1 ) The Boys and the Frogs, 
Volume I, page 59. 



Nature Study 135 

(2) The Bat and the Two 
Weasels, I, 155. 
b. See, also, references to Tom, the 
Water Baby and The Swiss 
Family Robinson, in the ear- 
lier part of this section. 

V. Insects : 

a. Nursery rhyme : 

(1) Little Miss Muffett, 
Volume I, page 17. 

b. Fable: 

( 1 ) The Gnat and the Bull, 
I, 66. 

c. Poem : 

( 1 ) The Spider and the Fly, 
III, 22. 

d. An Essay: 

(1) Trees and Ants That 
Help Each Other, 
VIII, 140. 

e. See, also, references to Tom, the 

Water Baby, in the earlier 
part of this section. 

VI. Denizens of the water : 
a. Fish: 

(1) Salmon Fishing, Vol- 

ume VIII, page 116. 

(2) "Pickerel," in The 

Pond in W int e r, 
VIII, 114-115. 

(3) See, also, "Salmon," in 



136 Nature Study 



Tom, the Water 
Baby, II, 322, 329- 
333, 334-335. 

b. See numerous references to 
Tom, the Water Baby, in the 
earlier part of this section. 



iTIL Natural phenomena : 


a. Nursery rhymes: 


(i) " 


Rainbow in the Morn- 




ing, Volume I, page 




41. 


(2) 


If All the World Were 




Water, I, 47. 


b. Poems 


: 


(i) 


Twinkle, Twinkle, Lit- 




tle Star, Volume I, 




page 55. 


(2) 


The Sun's Travels, I, 




67. 


(3) 


Bain, I, 106. 


(4) 


Autumn Fires, I, 411. 


(5) 


The Wind, I, 439. 


(6) 


The First Snowfall, II, 




443. 


(7) 


In Time's Swing, III, 




47. 


(8) 


Echo, III, 408. 


(9) 


Irish Astronomy, V, 




154. 


(10) 


The Rainbow, VI, 337. 


(«) 


Sweet and Low, VI, 




372. 



Nature Study 137 

(12) The Cloud, VIII, 85. 
c. Fable : 

(1) The Wind and the Sun, 
Volume I, page 90. 

VIII. Geographical in Nature : 

(1) At the Seaside, Volume I, 

page 134. 

(2) From a Railway Carriage, I, 

203. 

(3) Stop, Stop, Pretty Water, I, 

329. 

(4) Origin of the Opal, III, 57. 

(5) Song of the Brook, IV, 193. 

(6) A Descent Into the Mael- 

strom, VIII, 453. 

(7) Ascent of the Jungfrau, IX, 

66. 

Second. 

Aid in answering the second problem may be 
found in the following paragraph: 

A series of interesting studies may be founded 
on the use which authors make of nature by way 
of direct and indirect allusion in their works. 
Such lessons are the opposite of those we have 
been considering. Now, the literary selection is 
taken first, read carefully and the allusions noted 
and classified. It will be noticed that it is not 
necessary that selections used for this purpose 
should be new to the pupils. In fact, genuine 
literature has the merit of being always new, al- 



138 Nature Study 

ways interesting. No better service can be ren- 
dered to a child than to create in him a love for 
the fine things in literature. Continued, monot- 
onous study of a masterpiece may breed dislike 
of it, especially if the exercises are dull and for- 
mal. But to approach an old favorite from a 
new direction, to look at it from a new point of 
view, is to lend it added charms. 

A. To illustrate our method, we will use The 
King of the Golden River (Volume III, page 
136). 

1. Assignment. The teacher assigns the les- 
son as follows: "For tomorrow I wish you to 
read the first section of The King of the Golden 
River and bring to class, written in the order 
of their occurrence, every mention of a living 
thing or natural object and every allusion to 
them. Use the words of the story when possible, 
but be brief. After each put a number, to show 
the page of the story. Let us see who can find 
the greatest number and who can make the best 
paper. In our recitation we will find some in- 
teresting things to learn." 

2. Preparation. If the children work well 
their lists will be something like this : 

a. The valley in the mountains, pages 136- 
138. 

(1) Snow covered peaks; cataracts; a 

crag; river; circular hollows. 

(2) Heavy crops; high hay; red apples; 

blue grapes ; rich wine ; sweet honey. 

( 3 ) Blackbirds ; hedgehogs ; crickets; 

cicadas. 



Natube Study 139 

(4) Corn. 

b. The wet summer. Page 138. 
( 1 ) Hay ; vines ; corn. 

c. A nice piece of mutton. Page 139. 

d. Must be the wind. Page 139. 

e. A black feather some three feet long. Page 

140. 

f. Like a beaten puppy's tail. Page 141. 

g. Like a mill stream. Page 141. 
h. Licking its chops. Page 141. 

i. A gust of wind that made the old chimneys 

totter. Page 141. 
j. Quicksilver-like streams. Page 142. 
k. Like a straw in the high wind. Page 144. 
1. A wreath of ragged cloud, that whirled and 

rolled away down the valley. Page 

146. 
m. A gush of rain. Page 146. 
n. Howling wind and rushing rain without 

intermission. Page 146. 
o. The room was full of water. Page 148. 
p. A misty moonbeam. Page 148. 
r. Like a cork. Page 148. 
s. The inundation. Pages 148-149. 

( 1 ) Trees ; crops ; cattle swept away. 

(2) Red sand and gray mud left in their 

stead. 

(3) Corn swept away. 

(4) Breezy letters. 

(5) Southwest Wind, Esquire. 

3. Recitation. The teacher's part in the reci- 
tation is to help the pupils to classify the things 
mentioned, to bring out the meaning of the fig- 



140 Nature Study 

ures of speech, and to see that the allusions are 
understood. 

In writing this fine chapter, Ruskin has men- 
tioned or alluded to the following: 

a. Land and water forms : mountains ; valley ; 

snow; peaks; cataracts; river; circular 
hollow; mill stream; cloud; rain; globe 
of foam. 

b. Animals: Sheep (mutton) ; bird (feath- 

ers) ; puppy; dog (licking its chops) ; 
wolf (howling wind) ; cattle. 

c. Plant life: Crops; hay; apples; grapes; 

corn; vines; straw; cork; trees. 

d. Natural phenomena : A wet summer wind 

blowing ; gushing rain ; whirling clouds ; 
misty moonbeam ; floating foam ; sweep- 
ing inundation; breezes (breezy let- 
ters). 

e. Rock material: Quicksilver; red sand; 

gray mud. 

f. Natural products: Crops; apples; hay; 

grapes; wine; honey; corn; mutton; 
cork; cattle. 

g. Figures of speech: (In studying figures 

of speech, make three points in each, 
viz. : First j the basis of the figure ; sec- 
ond, the translation of the figure into 
literal English; third, the force and 
beauty of the figure and its effect on 
the meaning of the sentence. With 
older pupils the names of the figures 
may be given. Illustrations of these 
directions will follow.) 



Nature Study 141 

( 1 ) Like a beaten puppy's tail. ( A beaten 

puppy drops his tail and drags it 
weakly behind him. The feather 
drooped down behind him and 
dragged limply along. The figure 
gives a vivid picture of the wet 
feather, limp and unhandsome. The 
figure is a comparison in the form 
of a simile.) 

(2) Like a mill stream. (Rushing, roar- 

ing, fast and furious.) 

(3) Licking its chops. (First, a dog runs 

out his tongue and licks his lips and 
the outside of his face (cheeks- 
chops) when he sees food brought 
to him. A red flame twists and 
waves around like the tongue of a 
dog. We speak of "tongues of 
flame" and "hungry flames devour- 
ing." Second, long streams of flame 
waved around and curled about the 
wood as they burned it. Third, how 
much more vivid is the picture we 
see of the beautiful fire. The words 
"rustling" and "roaring" help to 
strengthen the * figure. This is a 
fine comparison, but as it is not di- 
rectly expressed by the use of the 
words "like" or "as" we call it a 
metaphor. ) 

(4) Quicksilver-like streams. (Bright, 

shining, smoothly running, with 
metallic luster.) 



142 Nature Study 

(5) Like a straw in the high wind. 

(Rapid, uncertain, irregular mo- 
tion. ) 

(6) A wreath of ragged cloud. (Notice 

the metaphor in wreath — also in 
ragged.) 

(7) Howling wind. (A wolf howls. The 

figure which raises an inanimate ob- 
ject to the level of animate beings, 
or raises an animate being [a dog, 
for instance] to the level of a human 
being, is called personification.) 

(8) Like a cork. 

(9) Swept away. 

(10) Breezy letters. ( The words swept and 
breezy are somewhat metaphorical, 
though their frequent use in this 
manner makes the meaning almost 
literal. ) 
(11) Southwest Wind, Esquire. (Person- 
ification. ) 

B. A second lesson may confine itself more 
closely to the figures of speech. Naturally this 
study of figures belongs with language and lit- 
erature, but the point we wish to make is one 
of correlation. There is a literary side to na- 
ture study, and a natural history side to litera- 
ture. Many of the greatest authors have been 
ardent lovers of nature, and have drawn liberally 
on their knowledge of nature in beautifying what 
they have written. Many a reader, from lack 
of knowledge or from careless habits, passes over 



Nature Study 143 

the most delightful things, as blind and aeaf as 
he who sees no beauty in the wild flowers and 
hears no melody in the songs of birds. Whether 
lessons such as these be given in one class or an- 
other does not matter, so that the pupils learn 
the lessons and learn to love nature and appreci- 
ate the charms it lends to literature. 

For the second lesson of this character we will 
take the second and third chapters of The King 
of the Golden River, hoping to find an abun- 
dance of figures based on nature in some of its 
forms. We may not find many. Some writers 
use few. We suspect that Ruskin used them 
freely; as a matter of fact he was one of the 
greatest lovers of nature, a man who labored 
hard to bring art and nature together and to 
find a place for them in the lives of all. 

We find in the second chapter the following 
nature-figures : 

a. Southwest Wind, Esquire, page 149. 

b. His relations, the West Winds, page 149. 

c. It looks more like silk, page 150. 

d. The hot breath of the furnace, page 151. 

e. Bright tongues of fiery cloud burning and 

quivering about them, page 151. 

f. A clear metallic voice, page 152. 

g. Like that of a kettle on the boil, page 152. 
h. As smooth and polished as a river, page 

153. 
i. The prismatic colors gleamed over it, as if 
on a surface of mother-of-pearl, page 
155. 



144 Nature Study 

j. In order to allow time for the consterna- 
tion — to evaporate, page 156. 
In the third chapter are the following : 

a. Knotty question, page 158. 

b. Like a line of forked lightning, page 159. 

( This whole paragraph is a wonderfully beau- 
tiful description.) 

c. Rose like slow smoke, page 160. 

d. In feeble wreaths, page 160. 

e. Shrieks resembling those of human voices 

in distress or pain, page 160. 

f . None like the ordinary forms of splintered 

ice, page 160. 

g. Deceitful shadows, page 160. 
h. Lurid lights played, page 160. 

i. Ice yawned into fresh chasms, page 161. 

j. Fell thundering across his path, page 161. 

k. Rays beat intensely, page 161. 

1. Its lips parched and burning, page 162. 

m. Long snake-like shadows, page 162. 

n. The leaden weight of the dead air pressed 

upon his brow and heart, page 162. 
o. Shaped like a sword, page 164. 
p. Like a red-hot ball, page 164. 
q. They shook their crests like tongues of fire, 

page 164. 
r. Flashes of bloody light gleamed along their 

foam, page 164. 
s. An icy chill shot through his limbs, page 

164. 
t. The moaning of the river, page 164. 
u. The Black Stone, page 164. 



IV. GEOGRAPHY AND HISTORY 

I. Classified Selections 

Lessons in geography and history should be so 
interwoven one with the other that it is not wise 
to attempt to treat them separately, to any great 
extent. Journeys Through Bookland has in 
its numerous volumes many things that will aid 
the teacher greatly; some presenting facts that 
should be known, but more that give that pecu- 
liar spirit and interest without which the study 
of either branch is uninteresting and unprofit- 
able. It should be remembered that the books 
present the literary side of the subjects and are 
not reference books for the acquirement of facts. 
There are historical and geographical articles, 
it is true, but they alone would not make the 
books indispensable to the teacher. Consequent- 
ly, the outlines which follow will not be complete 
on the subject, but will give that which may be 
added to the regular work of the class. 

Naturally, the earlier lessons must be, in geog- 
raphy and history, of a conversational type and 
based upon things which the pupils know. Read- 
ing, language, history, and geography become so 
closely correlated that what is distinctively in- 
tended for the one may be almost equally effect- 
ive as another. 

In the following list of nearly one hundred 
and fifty selections we will not try to classify 

145 



146 



Geography and History 



very strictly, but will suggest for each a certain 
phase of usefulness. 



Largely geographical: 
a. Juvenile poems with geographical allu- 
sions, or based on geographical facts : 

The Suns Travels, Volume I, page 
67. 

Singing, I, 73. 

Foreign hands, I, 127. 

At the Seaside, I, 134. 

Old Gaelic Lullaby, I, 209. 

Where Go the Boats? I, 265. 

Foreign Children, I, 365. 

Keepsake Mill, I, 363. 

Windy Nights, II, 152. 

Picture Books in Winter, II, 240. 

The Child's World, II, 243. 
Stories and poems that describe places or 
people in Europe, and some of their 
customs and modes of life : 

The Tree, Volume I, page 263. 

The Snow Maiden, I, 266. 

The Snow Queen, II, 155. 

A Bog of Flanders, IV, 235, 

The Skeleton in Armor, VI, 54. 

Rob and His Friends, VI, 346. 

The Governor and the Notary, VII, 
311. 

Bon Quixote, VIII, 282. 

The Alhambra, IX, 36. 

Ascent of the Jungfrau, IX, 66. 



(i) 

(2 

(3 

(4 

(5 
(6 
(7 
(8 

(9 
(10 

(11 



(1) 
(2) 

(3) 
(4) 

(5) 
(6) 
(7) 

(8) 

(9) 
(10) 



Geography and History 147 

(11) The Cotter's Saturday Night, IX, 
253. 

c. Fanciful legends with geographical inter- 

ests: 

(1) Why the Sea Is Salt, Volume III, 

page 51. 

(2) Origin of the Opal, III, 57. 

d. Stories from Japan and India : 

(1) The Mirror of Matsuyana, Volume 

II, page 62. 

(2) Wee Willie Winkie, III, 189. 

e. A story of longitude: 

(1) Three Sundays in a Week, Volume 
VII, page 255. 
/. Plants or plant life : 

( 1 ) The Potato, Volume III, page 57. 

(2) Trees and Ants That Help Each 

Other, VIII, 140. 

(3) A Bed of Nettles, IX, 131. 
g. Animal life : 

(1) Salmon Fishing, VIII, 116. 

(2) Winter Animals, VIII, 126. 

(3) Trees and Ants That Help Each 

Other, VIII, 140. 

(4) Owls,X 9 169. 

(5) Elephant Hunting, VII, 180. 

(6) Some Clever Monkeys, VII, 198. 

(7) The Buffalo, VII, 395. 

(8) A Gorilla Hunt, VIII, 74. 

(9) Brute Neighbors, VIII, 88. 
(10) The Pond in Winter, VIII, 111. 

h. Natural phenomena : 

(1) The Cloud, Volume VIII, page 85. 



148 Geography and History 

2. Indians and their habits. The selections are 
either historical or geographical or both. 

a. The Arickara Indians. (A description of 

the habits and customs of one of the 
western tribes.) Volume V, page 463. 

b. Reminiscences of a Pioneer, (This con- 

tains a few interesting anecdotes of In- 
dians and many incidents of pioneer 
life.) Volume VI, page 67. 

c. Black Hawk Tragedy. (A very interest- 

ing biographical and historical sketch.) 
Volume VII, page 354. 

d. An Exciting Canoe Race. (A story of 

the New York Indians at an early day.) 
Volume VII, page 395. 

e. David Crockett in the Creek War. (An 

interesting account of southern Indians 
and their wars.) Volume VIII, page 
380. 

3. Biography. The selections in this group con- 
sist of anecdotal sketches, brief biographies, 
extracts from longer works, and a few poems : 
a. Authors of the United States and of for- 
eign countries: 

(1) Robert Louis Stevenson, Volume I, 

page 125. 

(2) Eugene Field, I, 249. 

(3) Hans Christian Andersen, II, 110. 

(4) Henry Wadsworth Longfellow, IV, 

200. 

(5) Alice and Phoebe Cary, IV, 260. 

(6) Nathaniel Hawthorne, IV, 331. 

(7) Sir Walter Scott, VI, 265. 



Geography and History 149 

(8) John Greenleaf Whittier, VIII, 226. 

(9) William Cullen Bryant, VIII, 237. 

(10) Oliver Wendell Holmes, VIII, 245. 

(11) James Russell Lowell, VIII, 259. 

(12) Washington Irving, IX, 139. 

(13) Charles and Mary Lamb, IX, 263. 

b. Biblical Characters : 

( 1 ) The Story of Joseph, Volume I, page 

456. 

(2) The Story of Esther, II, 445. 

(3) David, IV, 429. 

(4) Ruth, VI, 397. 

c. The author of many fables: 
(1) Aesop, Volume II, page 1. 

d. English history: 

(1) Richard of the Lion Heart, Volume 

IV, page 381. 

(2) Alfred the Great, IV, 418. 

(3) Queen Victoria, VII, 458. 

(4) Florence Nightingale, IX, 79. 

e. American history: 

(1) George Rogers Clark, Volume VII, 

page 221. 

(2) David Crockett in the Creek War, 

VIII, 380. 
( 3 )* Pere Marquette, IX, 1 . 
(4) Abraham Lincoln, X, 277. 
/. Roman history : 

( 1 ) Julius Caesar, Volume X, page 87. 
Myths from several sources : 
a. Grecian and Roman: 

(1) Atlanta's Race, Volume I, page 403. 

(2) Baucis and Philemon, I, 429. 



150 Geography and History 

(3) The Golden Touch, II, 70. 

(4) The Chimera, II, 208. 

(5) The Story of Phaethon, II, 245. 

(6) The Queen of the Underworld, II, 

467. 

(7) Cupid and Psyche, IV, 10. 

b, Northern Europe : 

(1) How the Wolf Was Bound, Volume 

II, page 121. 

(2) The Death of Balder, II, 129. 

(3) The Punishment of Loki, II, 143. 

(4) Beowulf and Grendel, III, 478. 

c. Miscellaneous : 

(1) Stories of the Creation, Volume IV, 

page 307. 

5. Legendary heroes. The following selections 

give vivid ideas of the great national heroes 

whose reputed deeds have been an inspiration 

to hosts of children in many lands : 

a. Scandinavian : 

(1) Frithiof the Bold, Volume IV, page 
40. 

b. German : 

(1) The Story of Siegfried, Volume IV, 
page 57. 

c. English : 

(1) Robin Hood, Volume IV, page 86. 

(2) King Arthur, V, 287. 

(3) Balin and Balan, V, 304. 

(4) Geratnt and Enid, V, 323. 

( 5 ) The Holy Grail, V, 386. 

(6) Dissensions at King Arthur s Court, 

V, 412. 



Geography and History 151 

(7) The Passing of Arthur, V, 417. 

d. French : 

(1) Roland at Roncesvalles , Volume IV, 
page 111. 

e. Spanish : 

(1) The Cid, Volume IV, page 140. 
/. Greek: 

(1) The Death of Hector, Volume V, 

page 47. 

(2) Ulysses, V, 86. 
g. Roman : 

(1) Horatius, Volume VI, page 239. 
6. Historical tales, poems, and selections of dif- 
ferent kinds and varying degrees of difficulty : 

a. Northern Europe : 

( 1 ) Holger Danske, Volume III, page 70. 

(2) Make Way for Liberty, VII, 478. 

(3) Marco Bozzaris, VIII, 448. 

(4) The Siege of Ley den, X, 138. 

b. France and Napoleon: 

( 1 ) Incident of the French Camp, Volume 

IV, page 324. 

(2) Battle of Ivry, VIII, 423. 

(3) Heme* Riel, IX, 53. 

(4) The Battle of Waterloo, IX, 31. 

(5) The Battle of Cressy, X, 94. 

c. Classic lands : 

( 1 ) The Wooden Horse, Volume V, page 

69. 

(2) The Battle of Thermopylae, VIII, 

437. 

(3) The Death of Caesar, X, 55. 

(4) The Death of Caesar, X, 74. 



152 Geography and History 

(5) Julius Caesar, X, 87. 

d. British Isles: 

(1) Chevy Chase, Volume IV, page 474. 

(2) The Ballad Agincourt, V, 269. 

(3) Some Children s Books of the Past, 

V, 275. 

(4) The Rise of Robert Bruce, VI, 1. 

(5) Bruce and the Spider, VI, 40. 

( 6 ) The Heart of Bruce, VI, 43. 

(7) The Tournament, VI, 279. 

(8) Bannockburn, VII, 303. 

(9) The Charge of the Light Brigade, 

VII, 452. 

(10) The Recessional, VII, 471. 

(11) The Revenge, VIII, 428. 

( 12) The Battle of Trafalgar, IX, 214. 

(13) Casabianca, IX, 246. 

(14) The Impeachment of Warren Hast- 

ings, IX, 439. 

(15) The Battle of Cressy, X, 94. 

(16) The Battle of Hastings, X, 284. 

e. United States: 

(1) The Pine Tree Shillings, Volume IV, 

page 344. 

(2) The Sunken Treasure, IV, 350. 

(3) The Hutchinson Mob, IV, 360. 

(4) The Boston Massacre, IV, 370. 

(5) The Landing of the Pilgrim Fathers 

in New England, IV, 376. 

(6) Sheridan s Ride, IV, 378. 

(7) Henry Hudson's Fourth Voyage, V, 

436. 

(8) Reminiscences of a Pioneer, VI, 67. 



Geography and History 153 

(9) Braddock's Defeat, VI, 109. 

10) The American Flag, VI, 128. 

11) Stonewall Jackson s Way, VI, 132. 

12) The Capture of Vincennes, VII, 228. 

13) The Old Continentals, VII, 481. 

14) America, VIII, 405. 

15) The Fall of the Alamo, IX, 23. 

16) The Knickerbocker History of New 
York, IX, 148. 

17) The Battle of Saratoga, X, 111. 

18) The Gettysburg Address, X, 272. 
/. America, outside of the United States : 

(1) The Buccaneers, Volume VI, page 88, 

( 2 ) Captain Morgan at Maricaibo, VI, 94. 

(3) Ring rose and His Buccaneers, VIII, 

340. 

(4) The Retreat of Cortez, VIII, 409. 

II. Suggestions in Method 

1. Elementary Lessons. The object of 
teaching geography and history is not solely that 
children may acquire a collection of facts. Too 
often the lessons in these branches consist merely 
in memorizing text books, in learning long de- 
scriptions, in the study of meaningless maps and 
in the catalogueing of political and military 
events in chronological order. The value of such 
work is comparatively small, and the studies can- 
not be considered profitable. If, however, pupils 
are taught to know and understand people, their 
habits and modes of life ; if they learn geograph- 
ical facts in their relation to humanity, to study 



1,54 Geography and History 

events in the relation of cause to effect, to seek 
for truth and the meaning of things, then noth- 
ing is more productive of good than the teaching 
of geography and history. 

If we accept as true the foregoing statements, 
then methods of teaching the subjects become 
clear as we think of them. It is evident that 
early lessons should be designed to create in- 
terest. 

(1) In the world of things immediately 
around us ; in the land and what grows and lives 
upon it; in the water, its relation to the land, 
its motions, and the life that it contains; in the 
air, its phenomena and its denizens; in human 
beings, their feelings and all their activities. 

(2) In the great earth as a whole and its 
parts, in foreign animals and plants; in human- 
ity in other lands. 

It appears that so broad an outline as the one 
just given can never be filled in, that the study 
of geography and history, the study of the world 
and its peoples can never be completed. If such 
is the case, it follows that the teacher who cre- 
ates the most vital interest in the subject, who 
leaves with her pupils the most ardent desire 
to study and know has been of greatest service 
to them. 

Now, the great interests of life have their in- 
ception in early years when the mind is active, 
curiosity strong, and instruction accepted with- 
out question. Then should be created that abid- 
ing interest which will make good students of 
geography and history, good citizens, good men 



Geography and History 155 

and women. If too many formal lessons are 
given then, and pupils are set to work at dreary 
tasks and are asked to memorize dry facts, it is 
probable that they will never become good stu- 
dents. How, then, shall a teacher create the 
abiding interest ? 

The entrance to the field of geography is 
through nature study, which is discussed else- 
where under that title. For the first two years 
of a child's school he will hear nothing of geog- 
raphy, and even in the third year there will be 
little formal reference to it, but all the time he 
is quietly mastering facts and developing in- 
terests that are geographical in their character. 

When systematic lessons begin, the teacher 
should remember to present only real facts and 
genuine things, that they should bear some close 
and direct relation to ourselves and that they 
should be matters of personal observation, as far 
as possible. Day and night in summer and win- 
ter, the seasons, the weather, wind, rain, snow, 
sleet, foods, clothing, the occupations of the 
neighborhood, the brooks and bodies of water 
about the school, hills, valleys, plains, plants and 
animals of the locality, each in turn serves its 
purpose. We cannot here show how these vari- 
ous subjects should be treated, but to illustrate 
the use of literature in elementary geography 
lessons we will present an outline on a single 
subject. The wide-awake teacher will see new 
possibilities in every direction and will make fre- 
quent use of the list given above in finding suit- 
able selections. 



156 Geography and History 

If we choose the wind as the subject of our 
model lesson, we may be sure to cover several 
recitations that will lead us into reading, nature 
study and language (oral and written). It is 
a subject that encourages wide correlation. The 
outline for the teacher might be the following : 

THE WIND 

1. Purpose of the Lesson: To teach the fol- 

lowing facts: 

a. That air occupies space. 

b. That wind is air in motion and has force. 

c. The directions and names of winds. 

d. The uses of winds. 

2. Experiments and Observation: 

a. Take an empty bottle and thrust it square- 

ly, mouth down, into water, Does the 
water rise in the bottle? (Only a little 
way.) Why not? (It can't get in. 
There is air in the bottle. ) 

b. Raise the bottle slowly and tip it slightly 

so that a part of the mouth is above the 
water, then push it horizontally into the 
water. Does the water go into the bot- 
tle now? (Yes.) Why? (Because there 
is no air there to keep it out.) How do 
you know? (I saw the air coming out 
in bubbles.) Why didn't the air come 
out when we pushed the bottle down the 
first time? (The water was too heavy; 
it held the air in.) 

c. Hold your hand close in front of your 

mouth and blow. Can you feel any- 



Geography and History 157 

thing ? ( Yes ; the air strikes my hand. ) 
When you are out in the wind can you 
feel it? (Yes; it pushes against me.) 
Can it push hard ? ( Yes ; sometimes it 
pushes over trees and houses.) What 
is the wind? (It is air moving.) 

d. Is the wind blowing today? Did it blow 

yesterday? From what direction is it 
(was it) blowing? How do you know ? 
(I saw trees bending away from it. I 
felt it pushing from that side. It came 
in at that window. The vane on the 
church steeple pointed that way.) 

e. When a wind comes from the South, what 

do we call it? (South wind.) When 
a wind blows from the North what do 
we call it? (North wind.) What wind 
brings cold weather? (North.) What 
wind brings warm weather? (South.) 
What wind brings long spells of rainy 
weather? (East.) What winds bring 
showers and thunderstorms? (South 
and West.) What winds prevail in 
summer? (South and West.) What 
winds prevail in winter? (North.) 

f. What work have you seen the wind do? 

(Turn windmills; sail boats.) Have 
you seen it do any work for us here? 
( Yes ; it drives the clouds that bring us 
rain. It drives away stormy clouds.) 
Can't you think of something else ? ( It 
scatters seeds of plants. It shakes nuts 



158 Geography and History 

from trees. It helps melt snow and ice. 
It keeps the air clean and pure.) 
3. Literature. 

a. As an introduction to the lesson or in 

preparation, give the first two stanzas 
of that beautiful poem by W. B. Rands, 
The Child's World (Volume II, page 
243). 

b. In considering the strength of the wind, 

there is a fine opportunity to introduce 
the fable The Wind and the Sun (Vol- 
ume I, page 90). 

c. Robert Louis Stevenson's verses, Windy 

Nights (Volume II, page 152), are en- 
tertaining and give an opportunity for 
nice explanation. 

d. In the same light as the preceding selec- 

tion may be regarded the imaginative 
verses by the same author, The Wind 
(Volume I, page 439). 

e. In The King of the Golden River (Vol- 

ume III), is a humorous personifica- 
tion of the southwest wind. It is strik- 
ingly true of the nature of that wind. 
The description begins at the bottom 
of page 139 and a second appearance 
of the wind is chronicled on pages 147- 
149. 
/. Finest of all the selections for this topic 
is Tennyson's exquisite lullaby, Sweet 
and Low (Volume VI, page 372) . This 
is well worth memorizing. 



Geography and History 159 

ALFRED THE GREAT 

One of the interesting characters in history is 
King Alfred of England and in the sketch of 
him (Volume IV, page 418) are facts enough 
for several elementary lessons in history. The 
teacher's outline might be as follows : 

1. Teacher's Preparation. 

a. Read the article above referred to, and 

such other material concerning Alfred 
as can be found. 

b. Select two incidents for story telling and 

prepare them for recital. ( See articles 
on Story Telling in this Manual and 
in Journeys, Volume X. ) 

2. Presentation to Class. 

a. Tell the first story (page 418). It might 
be given in this form : 

"More than a thousand years ago, Alfred, the 
youngest of the four sons of the king, was born. 
He was a fine lad and the favorite of his par- 
ents, but when he was twelve years of age he 
had not yet learned to read. This is not so 
strange, when we stop to think that it was long 
before people knew anything about printing and 
every letter in every book had to be slowly made 
with a pen. 

"This made books very expensive and rare, 
so that only a few people could own even one. 
Still you have no idea how beautiful some of 
those books were. They were written on thin, 
fine-grained leather called parchment, and were 
beautifully decorated in colors. The capital let- 



160 Geography and History 

ters which began paragraphs, and sometimes all 
the capital letters, were made large, in fanciful 
shapes, and all around them were painted flow- 
ers, birds, human beings, or pretty designs, so 
that each letter was a beautiful picture in itself. 
Then in the margins, above the titles, at every 
place where there was no printing, were still 
other delicate designs. Some of those wonder- 
ful old books are still in existence, and people 
go long distances to see them. They are more 
valuable now than ever, and most of them are 
safely guarded in museums. 

"One day Alfred's mother was reading to her 
children from one of those beautiful books some 
fine poems which the Saxons had written. The 
boys all became very much interested in the rich 
little paintings that decorated it. The mother 
pointed out its beauties and told the boys how 
carefully the artists had worked and how long it 
had taken them to do it. 

" 'Did you ever see its equal?' she asked. 

' 'No,' replied the oldest boy, 'I have not seen 
anything like it. I wish I had one like it.' 

" 'Boys,' said the mother, 'this is one of the 
greatest treasures I have, and I would not like 
to part with it. Yet I love my boys better than 
the book, and I want them to learn to read. So 
this is what I will gladly do: I will give this 
book to the first of you who comes to me and 
shows that he can read it understandingly.' 

" 'It is my book, for I can read some already,' 
said the oldest. 



Geography and History 161 

' 'But I can work harder than you, and I will 
learn faster,' said the second. 

' 'I learn more easily than any of you,' the 
third boy added. 'I feel sure I shall win the 
book.' 

"Alfred said nothing, but as soon as his mother 
had ceased to read he hurried away, found a 
wise man to teach him and began immediately 
to work with great diligence. It was not long 
before he began to read for himself, and before 
his brothers had made much progress Alfred 
went to his mother. 

' 'I think I can read the book,' he said. 

" 'I do not think you have had time to learn. 
You are hurrying too much. You should study 
more,' his mother replied. 

' 'But, mother, please let me try,' pleaded Al- 
fred. 

"The mother yielded and Alfred brought the 
big book to her and laid it on her knee. Then 
he opened it at the beginning and with very few 
mistakes read poem after poem. His mother 
was more than satisfied and when Alfred left 
the room he was hugging the elegant book and 
carrying it to his part of the castle. 

"This was only the beginning, for Alfred be- 
came the greatest scholar and the wisest king the 
Saxons ever had. He made just laws, he ruled 
kindly, he founded schools, and he tried in every 
way to make his subjects better, wiser and hap- 
pier. Do you not think it all began in his love 
for the beautiful book?" 



162 Geography and History 

3. Class recitation. 

Question the class and make them see in it : 

a. The Introduction. The first general facts 

about Alfred. 

b. The Body of the Narrative. The story 

of how Alfred learned to read. 

c. The Conclusion. Alfred wins the prize 

and becomes a great ruler. 

Then ask them to tell the story in their own 
words. 

Finally ask them to write the story for a com- 
position. 

4. Additional Information. Find out what 
other things about Alfred are already known to 
the class. Then tell the story of Alfred and the 
cakes (page 419) ; of his battles with the Danes 
under Guthrum (page 420) ; of his war with the 
Danes under Hastings (page 422) ; of his work 
for his people (page 423) ; and of his plans and 
inventions (page 424). 

5. Supplementary Readings. If the lessons 
on Alfred have been well conducted, interest will 
have been created in a variety of subjects relat- 
ing to early English history. The Saxons, their 
mode of life, armor, weapons, manner of war- 
fare, laws and customs; the Danes and their 
characteristics; the rulers who followed Alfred; 
the formation of the English nation, are topics 
that readily suggest themselves. 

More or less closely connected with these lines 
of thought are the following selections in Jour- 
neys Through Bookland. The teacher may 
easilv deflect the interest in anv direction. If 



Geography and History 163 

the selections are too hard for the class to read, 
tell the stories in simplified form: 

1. The Legends of King Arthur (Volume 

V, beginning on page 287). 

2. The Attach on the Castle (Volume V, 

page 1). 

3. The Battle of Hastings (Volume X, 

page 284). 
4. Beowulf and Grendel (Volume III, 
page 478). 

5. Chevy Chase (Volume IV, page 474). 

6. Frithiof the Bold (Volume IV, page 40) . 

7. The myths of the Northland, viz. : How 

the Wolf Was Bound (Volume IT, 
page 121) ; The Death of Balder (Vol- 
ume II, page 129) ; The Punishment 
of Loki (Volume II, page 143) ; and 
part of Stories of Creation (Volume 
IV, page 307). 

8. A Norse Lullaby (Volume I, page 253) . 

9. The Tournament (Volume VI, page 

279). 
10. The Skeleton in Armor (Volume VI, 
page 54). 

It will be noticed that while this outline is 
given for the use of teachers of history in the 
lower grades, it easily may be adapted to the 
use of older pupils and may lead into a wide 
course in historical reading. 

2. Formal Lessons in History. The text- 
book in history is necessarily brief and really 
little more than an outline of events. In many 



164 Geography and History 

instances the book gives too much space to bat- 
tles, sieges and military movements and too lit- 
tle to the conditions of life, to manners, customs 
and causes and effects of events. Yet the text- 
book is a valuable guide and enables the teacher 
to present the subject logically and to system- 
atize what is learned, if nothing more. 

What a wide range of subjects is covered in 
the study of history! What abundance of ma- 
terial for study is required by the teacher ! Dates 
must be learned and events arranged chrono- 
logically; maps must be studied, fixed in mind 
and made of real value by a comprehension of 
the things they are supposed to represent; mili- 
tary events must be understood in relation to 
the causes that lead to them and the results that 
follow. Some few battles or campaigns must be 
made vivid enough to give an idea of the ex- 
pense, the labor, the suffering and the horrors 
involved in war; government, educational 
and religious institutions, religious and social 
customs and financial methods must be studied; 
industries and amusements, the lives of the peo- 
ple, food and food supplies, the production of 
clothing and building material must be exam- 
ined ; in fact, each one of the multiform interests 
of humanity may be a fair topic for study at 
some time in the history class. 

Methods of instructions must be as varied as 
the subject matter. Sometimes drill is neces- 
sary to fix facts; again it is necessary to en- 
courage the observation and study of persons, 
things and events about us; a third time, wide 



Geography and History 165 

research and extension reading are demanded; 
again, the feelings must be aroused, sentiment 
and enthusiasm encouraged, patriotism taught. 

The teacher will find material for many of 
these exercises in Journeys Through Book- 
land. One good outline for study may be found 
in this Manual, under the head of Language; 
it is the argumentative outline on The Boston 
Massacre. 

As a type of study for the military campaign, 
we might take Burgoyne's campaign in the Rev- 
olution. From the text-book we may learn cer- 
tain facts and encourage the pupils to group 
them as follows: 

Burgoyne's Campaign. 

1. Conditions prior thereto. 

a. The British occupied only New York and 

Newport. 

b. They understood the natural highway that 

existed along Lake Champlain and the 
Hudson River from the Saint Law- 
rence River to New York. 

c. They resolved to establish a line of mili- 

tary posts along this highway. 

2. Plan of Campaign. 

a. General Burgoyne was sent to Canada 

with 4,000 British regulars and 3,000 
Hessians. 

b. Canadians and Indians to the number of 

1,000 joined the troops under Bur- 
goyne. 

c. St. Leger was sent to Oswega to descend 



166 Geography and History 

the Mohawk, capture Fort Stanwix and 
join Burgoyne. 
d. Burgoyne was to go through Richelieu 
River and Lake Champlain by boats; 
thence march to New York by land. 

3. American Troops in Opposition. 

a. General St. Clair with 3,000 men at Ticon- 

deroga. 

b. General Schuyler with about 3,000 men 

on the Hudson. 

4. Burgoyne's Advance. 

a. The trip to Ticonderoga made and the 

Americans dislodged from the fort. 

b. The skirmish at Hubbardton was success- 

ful, but the Americans were not cap- 
tured, and the delay to Burgoyne en- 
abled Saint Clair to join Schuyler. 

c. The march to the Hudson was full of dif- 

ficulties and discouragements: 

(1) Obstructed roads; destroyed bridges. 

(2) Supplies grew short. 

(3) Indians deserted. 

(4) A third of his troops were left at 

Ticonderoga. 

d. The expedition against Bennington: 

(1) Colonel Baum sent to take supplies 

from the Americans there. 

(2) Met General Stark with a force out- 

numbering him two or three to one. 

(3) Rain delayed battle, and British en- 

trenched. 

(4) Baum surrounded; his force captured 



Geography and History 167 

or killed, including a relief party 
under Riedesel. 
e. St. Leger's Campaign. 

(1) Unsuccessful battle at Oriskany. 

(2) St. Leger retreated and disappeared 

from the region after a flight in- 
duced by a ruse invented by Bene- 
dict Arnold. 

5. Burgoyne's Surrender. 

a. He attempted to cut his way through the 
lines of the American troops which sur- 
rounded him. 

6. Crossed the Hudson and met the Ameri- 
cans at Bemis Heights ; defeated. 

c. Defeated at Freeman's Farm. 

d. Surrendered October 17, 1777. 

6. Effects of the Surrender. 

a. Gave the Americans many arms and muni- 

tions of war. 

b. Gave the Americans greater confidence in 

themselves and their cause. 

c. Caused great discouragement to the Brit- 

ish, both at home and in the colonies. 

d. Established the prestige of the American 

cause in Europe. 

e. Secured the assistance of France. 

/. Probably was the most influential single 
campaign in the war and largely instru- 
mental in enabling the colonists to win. 

The preceding outline is the framework for 
the study of one military campaign. It is the 
basis for topical recitations, but in itself it has 



1G8 Geography and History 

neither interest nor vitality. The main points 
should be memorized so that facts learned sub- 
sequently may be logically arranged. When the 
general outline is mastered, teachers and pupils 
begin to fill in details from all available sources 
and create in the minds of the pupils vivid pic- 
tures of the scenes, a thorough understanding 
of the course of events and a lively realization 
of the effect of this remarkable episode of a great 
war. 

To further assist the teacher in this instance 
and to furnish a type or model for succeeding 
studies, we will traverse the outline again, show- 
ing what may be done with it and how litera- 
ture may lend its aid to the study of history. 
In Journeys Through Bookland we have a 
long extract from The Battle of Saratoga by 
Creasy (Volume X, page 3). This will be the 
source of much of our information, and the 
teacher will find the explanatory footnotes to 
the extract of considerable value. We reproduce 
here only the indices of the original outline : 

1. a, b and c. A good outline map of the 
colonies is necessary. It must show the location 
of bodies of water, natural thoroughfares, cities 
and forts. The map should be made for the pur- 
pose and contain no details beyond those neces- 
sary for an understanding of this campaign. A 
second map showing a strip of country from the 
Saint Lawrence to New York and wide enough 
to include all the operations of the armies should 
contain more detail and be used frequently as 
the study proceeds. It may be well for each 



Geography and History 169 

pupil to draw this region in outline and fill in 
the details as his study proceeds. Read page 
113, Volume X. 

2. a, b, c and d. Read pages 114-116, Vol- 
ume X. 

3. a and b. Pages 114-115, Volume X. 

4. a. Pages 116 and 117, Volume X. 

4. b. See page 118. The quotation from 
Burke, Volume X, pages 118 and 119, and the 
following paragraph are interesting accounts of 
the feeling in England and America over the 
apparent successes of Burgoyne. 

6. c. The causes of the increased efficiency 
of the Americans and the bitterness with which 
the British were regarded by the colonists is ex- 
plained on pages 120 and 121 of Volume X. 

Something of the nature of the Indian allies 
may be gained from the story, An Exciting 
Canoe Race (Volume VII, page 376). 

A stirring poem to be read in this connection, 
or later on at the time of the battle, may be 
found in The Old Continentals (Volume VII, 
page 481 ) . 

7. a, b, c and d. The final days of the cam- 
paign and the surrender are described on pages 
124-135, Volume X. In using this, bring out 
the following points not made in the original 
outline : 

The near approach of Clinton and the message 
from him. What must Burgoyne have felt when 
he received the message! Put human interest 
into the tale. 



170 Geography and History 

The character of Burgoyne, Gates and Arnold, 
as shown by their acts. 

The Germans (Hessians) in the campaign. 

The burial of General Frazer. 

The condition of the British troops when they 
surrendered. 

The terms of surrender. 

Gates's message to Congress. 

6. a, bj c 3 d and e. See, in this connection, 
page 111 and pages 136 and 137 of Volume X. 

The Soldiers Dream (Volume VII, page 
476) is a good poem to read for the purpose of 
exciting sympathy for the soldiers. 

The Picket Guard (Volume VII, page 483) 
is useful in a similar way, though written in con- 
nection with another war. 

The American Flag (Volume VI, page 128) 
may be used here. Did the American soldiers 
carry the flag of the United States at the time 
of the battle of Saratoga? If not, what flag 
was borne? Did the "United Colonies" have a 
flag? 

By consulting the tabulated list of selections 
useful in history classes you may find other things 
of interest. Care should be taken, however, not 
to cloud the main purpose of the lessons by the 
introduction of too much literary matter. 

Before leaving the subject of history and geog- 
raphy we urge upon the teacher a careful peru- 
sal of the sections entitled Close Reading, both 
in Journeys Through Booklaxd (Volume X, 
page 375) and in this Manual. 



V. CHARACTER BUILDING 



The influences which unite to make character 
are so numerous, subtle and complex that it is 
next to impossible to detect them or to classify 
them in order of importance. Not only is this 
true of the aggregate, but it is true of the in- 
dividual. It is doubtful if any person in middle 
life can tell just what he is or just how he became 
himself. He is aware of some great influences 
that have exerted their power over him at cer- 
tain crises in his life, but the little things which, 
taken together, have done more to form and fix 
his character are often unrecognized or under- 
valued. Fortunately, we do not need at this 
time to give attention to but one phase of the 
great question. 

As teachers, our greatest sphere of influence is 
upon the characters of our pupils. It is the one 
important thing. Great as is the value of book 
education, of practical power and of good health, 
still greater is the importance of sound, whole- 
some character; and, consciously or unconscious- 
ly, intentionally or unintentionally, the teacher 
is incessantly at work building the characters of 
the young people placed in her charge. Most of 
us, too, are working toward right ends as con- 
scientiously as any body of people in the world. 
Yet often we grow faint-hearted, or are puzzled 

171 



172 Character Building 

to know what we can do to help the children and 
how we can do it most ' effectively. 

That the influence of reading on character is 
one of the most powerful is granted by every 
high-minded person who has written or spoken 
upon the subject. Really, it is not an influence, 
but a series of influences, wide, complex, far- 
reaching. The extended range of subjects, the 
infinite variety in style, the unlimited shades in 
sentiment to be found in literature make its pres- 
ence influential everywhere and always. In read- 
ing there is comfort for the sorrowing, compan- 
ionship for the lonely, encouragement for the 
downcast, entertainment for the leisurely, inspi- 
ration for the sluggish. Gentle, pervasive, al- 
most unnoticed, yet stronger than iron bands, 
is the power of literature over us. We are what 
we read. 

If such be the case, then there need be no ar- 
gument concerning the importance of suitable 
reading matter for the young. To leave a child 
wholly to his own inclinations in reading is 
as absurd as to send him to take honey from a 
swarm of angry bees and not expect him to be 
stung. Inevitably, he will be injured, and that 
seriously. To supply him with honey, all that 
he wants, at all times and without exertion to 
himself, is to clog his taste and destroy his ap- 
petite. We must see that he is led to look for the 
sweet, taught to recognize it when he finds it, 
and to extract it from the comb. He will enjoy 
working to get it. On the other hand, he must 
not be sent where his reward is too difficult to 



Character Building 173 

find and secure, lest he become discouraged and 
cease to work. 

School readers furnish much excellent material 
for reading; in the majority of schools there is 
furnished more or less of supplementary reading 
that is quite as good as that in the text-books 
and which will have the merit of novelty and 
exclusiveness. Yet, in spite of this, teachers are 
continually finding themselves at a loss for fresh 
and inspiring things for special lessons. These 
she may get from Journeys Through Book- 
land., and to assist her in finding them and in 
using them after found the following lines have 
been written. 

II 

Character is made up of a great variety of 
traits ; some of the mind, some of the heart, some 
of the soul. That is, what we are is composed 
of what we know, what we feel and what we be- 
lieve. In response to those things we act; we 
govern ourselves in respect to ourselves and to 
others. 

The grave responsibility that rests upon teach- 
ers is to encourage those traits which make for 
noble manhood and womanhood and to correct 
or eradicate as far as possible those which are 
bad in themselves or which help to neutralize or 
destroy the good ones. 

Much may be accomplished by correct teach- 
ing of good principles, but human nature is such 
that people learn even more through indirection 
than through instruction. By means of the study 



174 Character Building 

of literature the best direct instruction may be 
given, and wholesome lessons may be taught 
abundantly in that charming way which accom- 
plishes its purpose without a recognition on the 
part of the pupils that they are being taught. 
The force and persistence of a good lesson of 
the latter kind cannot be estimated. It may be 
years before it exhausts itself, and its force may 
be revolutionary. 

The wise teacher, though she does not make 
known to her pupils all her plans, works sys- 
tematically. That is, having learned that her 
pupil is lacking in some respect, such as a knowl- 
edge of what constitutes good character, or in 
certain desirable traits of character, or possesses 
some characteristics that should be changed, she 
proceeds slowly and persistently to bring about 
the results she desires. 

Ill 

In Journeys Through Bookland she will 
find much to assist her. The influence of nearly 
all the selections will be for the betterment of 
character, will tend to make better men and 
women of her pupils. But when she is looking 
for some direct help, for something to produce 
a certain definite result, she will study the books 
carefully and select the things which are most 
effective. To help her in her selection we have 
prepared the following outline. It does not con- 
tain everything of value, but it is sufficiently 



Character Building 175 

comprehensive for its purpose, and will save 
much time for the teacher. 

Now let us not be foolish in teaching these 
things. Let us be satisfied if we secure the in- 
terest of the pupils in the selection and get from 
them the smile of approval, the look of guilt, 
the slight indication of a determination to profit 
by the lesson. Many times we will refrain from 
comment lest we spoil the effect of something 
much finer, more inspiring than anything we can 
say ourselves. 

The things we have chosen for their direct in- 
fluence on the growing character of children will 
be grouped by subject in three general classes: 



The selections in this group are calculated to 
set the pupils to thinking properly about some 
serious subjects. While not as important as some 
others may be in the formation of character, they 
are yet of no small consequence. 

1. Wisdom, ignorance, keenness, wit, etc., in 
some of their many phases are shown in the fa- 
bles and the brief poem shown here : 

The Ass in the Lions Skin, Volume I, page 61. 

The Fox and the Stork, I, 62. 

The Fox and the Grapes, 1, 133. 

The Bat and the Two Weasels, I, 155. 

The Horse and the Stag, I, 353. 

The Fox, the Wolf, and the Horse, I, 383. 

The Bald Knight, I, 402. 



176 Character Building 

The Wolf and the Lamb, I, 455. 

Minerva and the Owl, II, 6. 

The Country Squire, VII, 278. 

To ridicule ignorance but not the ignorant 
person is sometimes a valuable means of inciting 
a love for knowledge. 

2. The importance of attention to little 
things is inculcated in the following: 

The Lion and the Mouse, Volume I, page 69. 
The Reaper and the Flowers, II, 40. 
The Daffodils, VII, 287. 
The Petrified Fern, VII, 352. 

3. The following will help to create habits of 
promptness, industry and perseverance : 

Time to Rise, Volume I, page 60. 
The Hare and the Tortoise, I, 68. 
The Lark and Her Young Ones, I, 128. 
Industry and Sloth, I, 313. 
Whittington and His Cat, I, 441. 
Tom, the Water Baby, II, 257. 
The Village Blacksmith, IV, 227. 
Bruce and the Spider, VI, 40. 

4. These show the sterling worth of inde- 
pendence and the real equality of man : 

The V'illaae Blacksmith, Volume IV, page 
227. 

For A 3 That and A 3 That, VII, 455. 

5. Courage and bravery are shown to be ad- 
mirable and cowardice is made shameful in these 
selections : 

The Boy and the Nettle, Volume I, page 66. 
The Mice and the Cat, I, 202. 



Character Building 177 

6. The evil of conceit and overweening self- 
esteem may be shown emphatically by the use of 
such selections as these : 

The Gnat and the Bull, Volume I, page 66. 

The Cock and the Horses, I, 145. 

The Pea Blossom, I, 211. 

The Sparrow and the Eagle, II, 8. 

The Milkmaid, III, 67. 

7. Flattery as a vice is made to seem un- 
worthy, and its victim ridiculous in the two se- 
lections following : 

The Fooo and the Crow, Volume I, page 60. 
The Spider and the Fly, III, 22. 



B 



Our character is largely made up of our feel- 
ings and emotions. Reason takes us in hand and 
tells us right from wrong, but we must feel be- 
fore we act. To cultivate right feeling, laudable 
emotions ; to make one wish to do and hence will 
to do is perhaps the greatest function of real 
literature, that is the literature of beauty and of 
inspiration. Our collection is rich in this direc- 
tion and to find material for lessons is an easy 
task. Yet not everyone has the time to find, 
classify and use everything; hence the following 
lists. 

Before giving them, however, a word of cau- 
tion is necessary. Remember that these selec- 
tions are not all suitable for pupils of every age. 
Some that will delight the little children and 



178 Character Building 

stimulate them to enthusiastic efforts to do right, 
will not appeal to older pupils. Moreover, the 
natural bent of a child's mind, the associations 
he has formed, his home surroundings, and his 
present character will all need to be considered 
before making choice of the subject matter. As 
for the manner of presentation, enough will be 
found in the studies in Journeys Through 
Bookland and in other parts of this Manual 
safely to guide the young and inexperienced 
teacher. 

1. The influences of home and family are the 
greatest that come into the lives of most chil- 
dren. Love of home, of parents, of brothers and 
sisters, of children, are the perfectly natural 
things of existence. Yet often the ties are weak ; 
not infrequently are they broken. Children drift 
away from the restraining and helpful influence 
of their parents, and families disintegrate. The 
results are bad. By properly teaching such se- 
lections as the following, the teacher may do 
much to correct the evil and to intensify the 
highest, holiest emotions of mankind : 

The Rock-a-by Lady, Volume I, page 89. 

Little Birdie, I, 141. 

Sleep, Baby, Sleep, I, 204. 

Old Gaelic Lullaby, I, 209. 

Lady Button-Eyes, I, 381. 

The First Snowfall, II, 443. 

What the Old Man Does Is Always Bight, 
III, 58. 

Bain on the Boof, IV, 7. 

Pictures of Memory, IV, 272. 



Character Building 179 

Bernardo del Carpio, IV, 470. 

Rab and His Friends, VI, 346. 

Childhood, VI, 375. 

Home, Sweet Home, VII, 1. 

Home They Brought Her Warrior Dead, 
VII, 12. 

A Christmas Carol, VII, 27. 

To My Infant Son, VII, 283. 

The Old Oaken Bucket, VII, 298. 

How's My Boy? VII, 475. 

My Old Kentucky Home, VII, 485. 

The Forsaken Merman, VIII, 1. 

Tom and Maggie Tulliver, VIII, 7. 

The Family of Michael Arout, VIII, 149. 

On Receipt of My Mother s Picture, VIII, 
168. 

Extract from Snowbound, VIII, 234. 

The Cotters Saturday Night, IX, 253. 

Dream Children, IX, 271. 

2. Honesty and truthfulness are cardinal vir- 
tues; they are the foundation of every strong 
character. Teach these selections and note their 
effect : 

The Shepherd Boy and the Wolves, Volume 
I, page 87. 

The Falcon and the Partridge, II, 6. 
The Pied Piper of Hamelin, IV, 30. 
The Cubes of Truth, VIII, 254. 

3. Friendliness, kindness, consideration of 
others, charity and love are a group of strong 
characteristics which are admirably shown in the 
following : 

The Two Travelers, Volume I, page 104. 



180 Character Building 

Cinderella, I, 231. 

Baucis and Philemon, I, 429. 

The Angel, II, 36. 

The Snow Queen, II, 1.55. 

The King of the Golden River, III, 136. 

Was She Complainin? IV, 1. 

Auld I^ang Syne, VII, 10. 

A Christmas Carol, VII, 27. 

Florence Nightingale, IX, 79. 

4. Generosity is admirable; selfishness is de- 
spicable. Prove the facts by these: 

The Two Travelers, Volume I, page 104. 
The Two Travelers and the Oyster, I, 107. 
The Cat and the Chestnuts, I, 141. 
The Generous Lion, I, 176. 
Baucis and Philemon, I, 429. 

5. Kindness to animals is next to kindness 
and sympathy for human beings. It is best in- 
culcated by teaching the beauty and loveliness 
of animals, their value to man and their depend- 
ence upon him. The following will help: 

The Boys and the Frogs, Volume I, page 59. 

The Brown Thrush, I, 146. 

Mercy to Animals, II, 39. 

The Ugly Duckling, II, 43. 

Tom, the Water Baby, II, 257. 

Who Stole the Bird's Nest? II, 439. 

Beth Gelert, III, 81. 

A Dog of Flanders, IV, 235. 

Bab and His Friends, VI, 346. 

The Rime of the Ancient Mariner, VII, 321. 

6. Patience and gentleness seem charming in 
these selections : 



Character Building 181 

The Wind and the Sun, Volume I, page 90. 

Cinderella, I, 321. 

Rab and His Friends, VI, 346. 

7. Faithfulness is a virtue. We admire it in : 
Something, Volume I, page 412. 
Whittington and His Cat, I, 441. 

The Mirror of Matsuyana, II, 62. 
The Snow Queen, II, 155. 
The Dog of Flanders, IV, 235. 
Casabianca, IX, 246. 

8. That envy and covetousness are unpleas- 
ing and unprofitable are shown by these: 

The Dog and His Shadow, Volume I, page 59. 
The Frog Who Wished to Be as Big as an Ox, 
I, 65. 
The Golden Touch, II, 70. 

9. Contentment, peacefulness, hopefulness 
are made very attractive in the following : 

The Town Mouse and the Country Mouse, 
Volume I, page 205. 

The Pea Blossom, I, 211. 

The Flax, I, 394. 

The Discontented Stone Cutter, II, 14. 

The Fir Tree, II, 95. 

The Blind Lassie, VI, 370. 

Pippa Passes, X, 240. 



We have grouped together here two classes of 
selections which inculcate patriotism or devotion 
to one's fatherland and devotion to God. How 



182 Character Building 

admirable the selections are! You have only to 
read them to see : 

1. Patriotism: 

Holger Danske, Volume III, page 70. 

Incident of the French Camp, IV, 324. 

The American Flag, VI, 128. 

Battle Hymn of the Republic, VI, 131. 

Stonewall Jackson s Way, VI, 132. 

Horatius, VI, 239. 

Bannockburn, VII, 303. 

Breathes There the Man, VII, 454. 

How Sleep the Brave, VII, 457. 

Make Way for Liberty, VII, 478. 

The Old Continentals, VII, 481. 

America, VIII, 405. 

The Battle of Thermopylae, VIII, 437. 

The Fall of the Alamo, IX, 23. 

Herve Riel, IX, 53. 

The Battle of Trafalgar, IX, 214. 

The Gettysburg Address, X, 272. 

2. Suitable selections under this topic are dif- 
ficult for teachers to find, owing to the objection 
there is against religious teaching in the public 
schools. The following are beautiful and seem 
wholly unobjectionable: 

A Thought, Volume I, page 61. 

The First Snowfall, II, 443. 

Nearer Home, IV, 271. 

Stonewall Jackson s Way, VI, 132. 

The Rainbow, VI, 337. 

Crossing the Bar, VIII, 183. 

A Child's Thought of God, VIII, 267. 



VI. "JOURNEYS" IN THE HIGH 
SCHOOL 

Though primarily intended for reading by 
children below the second year in the high school, 
it must be remembered that not a very large pro- 
portion of young people have been so taught 
that they are well acquainted with the founda- 
tions of good literature, nor have they learned 
to appreciate them thoroughly. Moreover, it is 
a fact that a great number of the purchasers 
of Journeys Through Bookland have been 
adults who have expressed themselves again and 
again as delighted with the collection of mas- 
terpieces and the studies. The older a person 
grows the more he loves the things that were a 
delight to his childhood. Good literature never 
dies, never loses its interest. Nothing really good 
is so simple that it cannot give pleasure to ma- 
ture minds, and often the meaning, the real sig- 
nificance, of some of the most juvenile of poems 
and stories, does not make itself manifest to 
a person until life with its experiences gives the 
power of full interpretation. In one sense, then, 
nothing in Journeys is too simple for high school 
students, if it is properly presented. Even the 
Nursery Rhymes may be revived and made in- 
teresting after the manner elsewhere discussed in 
this volume. 

However, it is not claimed that all the vast 
amount of material in Journeys is of high school 

183 



184 In the High School 

value. From the fourth volume on to the end, 
however, nearly every selection is worthy of study 
upon the lines suggested in the hooks and offered 
in this Manual. 

A. 

The studies in the books are nearly all appli- 
cable to a greater or less degree in the high school. 
It is only a question of adaptation and in many 
cases the necessary adaptation is slight enough. 

In the books the studies and interpretations 
are scattered, in order that children may not see 
too much of the machinery of instruction as they 
read. The teacher, on the other hand, wants ma- 
terial of that kind systematically arranged and 
easy of access. 

Accordingly, the following outline of the stud- 
ies in Journeys will be of assistance : 

I. Studies in character : 

(1) Cinderella, Volume I, page 231. 

(2) The Hardij Tin Soldier, X, 348. 

(3) Bab and His Friends, X, 367. 
II. Studies in plot : 

(1) The Snow Queen, Volume II, page 

155. 

(2) The Gold Bug, X, 172. 

(3) Cinderella, X, 340. 
III. Studies in description: 

( 1 ) The King of the Golden River, Vol- 

ume III, page 136. 

(2) The Beapers Dream, VIII, 186. 

(3) The Becovery of the Hispaniola, 

VIII, 194. 



In the High School 185 

IV. Method of analysis : 

(1) The Gettysburg Address, Volume 

X, page 272. 

(2) Braddoch's Defeat, X, 378. 

V. General studies involving several or all 
of the main points : 

(1) Incident of the French Camp, Vol- 

ume IV, page 324. 

( 2 ) The Tempest, IX, 286. ( Extensive 

studies following the drama.) 

(3) The Passing of Arthur, X, 40.5. 
VI. Studies in rhyme, meter and melody: 

(1) The Country Squire, Volume VII, 

page 278. 

(2) To My Infant Son, VII, 283. 

(3) The Daffodils, VII, 287. 

(4) The Old Oaken Bucket, VII, 298. 

(5) Bannockburn, VII, 303. 

(6) Boat Song, VII, 306. 

(7) The Bugle Song, X, 419. 

VII. Studies in interpretation, giving various 
methods and considering different 
phases of the subject: 

(1) Christmas in Old Time, Volume 

VII, page 150. 

(2) The Recessional, VII, 471. 

(3) Crossing the Bar, VIII, 183. 

( 4 ) The Cubes of Truth, VIII, 254. 

(5) America, VIII, 405. 

(6) A Descent Into the Maelstrom, 

VIII, 453. 

(7) Dream Children, IX, 271. 



186 



In the High School 



VIII. 



(8) The Vision of Mirza, X, 231. 

(9) Pippa Passes, X, 240. 

(10) Rob and His Friends, X, 367. 

(11) The Reaper and the Flowers, X, 

383. 

(12) Adventures in Lilliput, X, 415. 

(13) David Crockett in the Creek War, 

X, 423. 

(14) The Impeachment of Warren Hast- 

ings, X, 427. 

(15) A Christmas Carol, X, 433. 
Biographical sketches of authors, suit- 
able for class use : 

(1) Robert Louis Stevenson, Volume 

I, page 125. 

(2) Eugene Field, I, 249. 

(3) Aesop, II, 1. 

(4) Hans Christian Andersen, II, 110. 

(5) Henry Wadsworth Longfellow, IV, 

200. 

(6) Alice Cary and Phoebe Cary, IV, 

260. 

(7) Nathaniel Hawthorne, IV, 331. 

(8) Jonathan Swift, V, 167. 

(9) Sir Walter Scott, VI, 265. 

(10) John Howard Payne, VII, 1. 

(11) John Greenleaf Whittier, VIII, 

226. 

(12) William Cullen Bryant, VIII, 237. 
(18) Oliver Wendell Holmes, VIII, 245. 

(14) James Russell Lowell, VIII, 259. 

(15) Elizabeth Barrett Browning, VIII, 

268. 



In the High School 187 

(16) Washington Irving, IX, 139. 

(17) Charles and Mary Lamb, IX, 263. 

(18) William Shakespeare, IX, 417. 

B. 

Elsewhere in this Manual are a great variety 
of articles showing how literature may be made 
to assist in language, history, geography, nature 
study (science), moral training, etc. The high 
school teacher is earnestly requested to examine 
these articles carefully, for in them are a host 
of exercises which can be adapted to the class- 
room work of even advanced high school stu- 
dents. This is especially true of the work in 
language and reading, the general interpretation 
of literature. Nothing is beneath the attention 
of the high school teacher, who should bear in 
mind that most of the criticisms passed upon the 
graduates of high schools are applied to their 
weaknesses in English. Themes are required 
upon subjects that are too difficult. Even the 
older pupils can learn more from simple, inter- 
esting literary selections than from the more ab- 
struse subjects that are often assigned them. In- 
sufficient attention is given to form and arrange- 
ment. The close analysis of a masterpiece fur- 
nishes fine models of both and teaches arrange- 
ment almost without specific attention to it. The 
use of capital letters and punctuation marks, 
spelling, the choice of words are all subjects for 
study, and are all learned better from good mod- 
els than elsewhere. Pupils will discover that 



188 In the High School 

authors and publishers vary the rules of ordi- 
nary grammar to a considerable extent, espe- 
cially in the use of capitals and the comma. 

Some of the studies of special interest which 
may be based upon selections from Journeys 
will be given below. Many of the stories, poems 
and essays are accompanied by notes, queries and 
comments that will assist both pupil and teacher 
in making the studies profitable. Each topic 
will make several lessons and may be pursued 
at greater length by research in books of refer- 
ence and the volumes of the school or public 
libraries. Look in the Index at the end of the 
tenth volume for the following topics and then 
find in the several volumes the selections listed 
below the name : 

I. Ballads. Eight of the old English bal- 
lads and five more modern imitations are given. 
They are virile poems ; simple, direct narratives. 
The old ones show the peculiarities of the old 
style English diction before poetry had been re- 
fined, while the later ones, breathing still the fire 
and originality of the earlier, are more polished 
and show the greater skill and accomplishments 
of the poets. The old ballads sprang spontane- 
ously from the race and doubtless many minds 
contributed to their phraseology, for they were 
sung and recited and passed on from mouth to 
mouth for generations before they were fixed in 
their present form. 

II. Essays. In the list of essays (nine 
titles) are some of the most exquisite ever writ- 
ten and others that are full of information and 



In the High School 189 

inspiration. Dream Children is a perfect prose 
lyric; Some Children's Books of the Past is an 
extremely interesting essay of the informational 
class. Besides the essays listed in the Index there 
are other selections in essay form that may be 
studied with profit. Here are some of them : 

1. Abraham Lincoln, Volume X, page 277. 

2. The Arickara Indians, V, 463. 

3. The Buffalo, VII, 395. 

4. Alfred the Great, IV, 418. 

5. The Battle of Cressy, X, 94. 

6. The Battle of Hastings, X, 284. 

7. A Bed of Nettles, IX, 131. 

8. Brute Neighbors, VIII, 88. 

9. The Buccaneers, VI, 88. 

10. Stories of the Creation, IV, 307. 

11. Trees and Ants That Help Each Other, 
VIII, 140. 

III. Fables. The names of more than thirty 
fables are given in the list. Comparative study 
of these fables, considering the animals most fre- 
quently mentioned, the correctness and natural- 
ness of the traits ascribed to the different ani- 
mals, the moral precepts inculcated by the fables, 
etc., will be found interesting and profitable. 

IV. Fairy Lore and Folk Lore. Though 
fairy stories may have lost their intrinsic interest 
for high school students, the teacher will find in 
the collection given here the material for many a 
study. What merits keep the old stories alive 
and make them perennially fascinating to chil- 
dren of all nations? Which stories are the bet- 
ter for children, those of Hans Christian An- 



190 In the High School 

dersen or those of the Brothers Grimm? What 
are the particular merits or demerits of each 
class? How do the stories by the latter writers 
compare in originality and beauty with the older 
stories ? What comparisons can be made between 
The Ugly Duckling and The King of the Golden 
River 1 What merits has Cinderella over Blue- 
beard?. What is the effect of Jack the Giant 
Killer and stories of that kind on the minds of 
young people ? 

V. Fiction. Look under the subtitles for the 
long list of stories suitable for study when the 
class is dealing with fiction. 

VI. Legendary Heroes. What can be more 
interesting than a study of these characters from 
the borderland of history? These great figures 
come forth from the shadows of the past and 
move before us like living men: Beowulf, the 
Saxon; Frithiof, the Norse hero; Siegfried, the 
German; Roland, the French knight; The Cid, 
Spain's greatest warrior and gentleman; Hector 
and Ulysses, the Greeks; King Arthur and his 
knights from England; Horatius, the Roman, 
and Sohrab, the Persian. 

The literature of the Arthurian legends as 
given in Journeys, where they cover about 150 
pages, is a cycle of great importance to every 
high school student. The selections concerning 
Arthur form a series of narratives which, though 
from different sources, give a vivid picture of the 
great knight and his times. The cycle is in vol- 
ume V and the titles are: 



In the High School 191 

a. Arthur Made King, page 287. 

b. Arthur Weds Guenevere; The Round 

Table, page 293. 

c. Arthur and Pellinore, page 296. 

d. Arthur Gets Eoccalibur, page 301. 

e. Balin and Balan, page 304. (The stories 

given so far were written expressly for 
Journeys, but all have followed rather 
closely the relation of Malory.) 

f. Geraint and Enid, page 323. (This is 

one of the most popular of Tennyson's 
Idyls of the King. The poem is given 
complete. ) 

g. The Holy Grail, page 386. 

(1) The Knighting of Sir Galahad, page 

386. 

(2) The Marvelous Sword, page 388. 

(3) Galahad, and the Siege Perilous, page 

391. 

(4) Galahad Draws the Sword of Balin 

Le Savage, page 393. 

( 5 ) The Holy Grail Appears, page 394. 

(6) Galahad Gets His Shield, page 397. 

(7) The Grail Achieved, page 402. (The 

story of the search for the Holy 
Grail, which is taken from the nar- 
rative of Sir Thomas Malory, re- 
tains his quaint and charming style. 
The only material changes are in 
paragraphing and the use of quota- 
tion marks. ) 
h. Dissensions at King Arthur s Court, page 
412. (This was written for Journeys, 



192 In the High School 

to cover the interval between the 
achievement of the Grail by Sir Gala- 
had and the death of Arthur. ) 
i. The Passing of Arthur, page 417. (This 
is Tennyson's beautiful poem given in 
full. It describes the last days of Ar- 
thur's reign and the strange story of 
his death. In Volume X, beginning on 
page 405, is a study on this poem. ) 

VII. Lyrics. This topic gives the titles of 
about fifty beautiful lyrics. 

VIII. Myths. Twelve titles showing stories 
from the mythology of different nations. Many 
of the articles have explanatory comments and, 
though stories and notes are intended primarily 
for young children, the whole offers a good in- 
troduction to a more extended study of mythol- 
ogy. 

IX. Don Quixote. The five adventures re- 
lated give a good idea of the nature of the book 
and are sufficient for reference when the history 
class is studying chivalry. 

X. Odes. These six of our finest odes will 
please the class in literature. 

XI. Poetry. Look up the subtitles for 
names of poems. 

XII. Wit and Humor. It is not always 
easy to find what is wanted for class study un- 
der this head. The selections given are amus- 
ing, but at the same time most of them have real 
literarv value, as well, and are worth study. 



VII. SPECIAL DAYS IN SCHOOL 

It has become customary in most schools to 
observe with appropriate exercises certain 
notable days. Thanksgiving, Christmas, Me- 
morial Day, Flag Day, Arbor Day and Bird 
Day have their own peculiar functions and for 
each there is a different style of observance. 
Recitations, songs, readings, stories, help to make 
up the programs, and upon the teacher falls most 
of the burden in selecting material. In many 
states the Department of Education issues beau- 
tiful circulars on some of these special days, and 
from them the teacher draws some of her material 
and forms her program for the occasion. Yet 
when the one or two days for which material has 
been provided have passed there come a number 
of others which make their demands. Besides 
those mentioned, there are the birthdays of our 
great patriots and literary men and the general 
exercises at other times for which no special pro- 
vision has been made. For the busy teacher 
Journeys Through Bookland provides an al- 
most inexhaustible supply of excellent things, 
most of which may be found readily through the 
Index. Moreover, the selections are from the 
best literature for children, from that which they 
should know, so that the tired and harrassed 
teacher need not worry for fear that the children 
are filling their minds with useless things. 

It does not seem worth while to give long lists 

193 



194 Special Days in School 

of selections appropriate to special days as things 
are well classified in the index in the tenth 
volume. Yet to show more fully how Journeys 
Through Bookland may be used, the following 
suggestions are offered: 

I. Bird Day. Besides many other selections 
that are usable in different grades, the following 
seem peculiarly appropriate: 

1. The Fox and the Crow, Volume 1, page 
60. (This and the other fables mentioned below 
may be repeated as given or, better, may be told 
by a pupil in his own words.) 

2. The Fox and the Stork, I, 62. 

3. The Wolf and the Crane, I, 91. 

4. The Lark and Her Young Ones, 1, 128. 

5. The Brown Thrush, I, 146. 

6. The Owl and the Pussy-cat, I, 352. 

7. Minerva and the Owl, II, 6. 

8. The Sparrow and the Eagle, II, 8. 

9. Who Stole the Bird's Nest? II, 439. 

10. The Barefoot Boy, IV, 3. 

11. Ode to a Skylark, VIII, 105. 

12. (See also the lists of articles relating to 
birds, given under the section devoted to Nature 
Study in this Manual. 

II. Memorial Day. A few of the selec- 
tions suitable for this occasion are the following : 

1. Sheridan s Ride, Volume IV, page 378. 

2. The American Flag, VI, 128. 

3. Cf Stonewall 33 Jackson's Way, VI, 132. 

4. Breathes There the Man, VII, 454. 

5. For A 3 That and A 3 That, VII, 455. 

6. How Sleep the Brave, VII, 456. 



Special Days in School 195 

7. The Picket Guard, VII, 483. 

8. The Gettysburg Address, X, 272. 

9. Abraham Lincoln, X, 277. 

10. (See also in the index the titles under the 
Words Patriotism and History.) 

III. Christmas. There are at least three 
selections dealing specifically with Christmas, 
while many others are appropriate to the time : 

1. A Visit from St: Nicholas, Volume II, 
page 117. 

2. A Christmas Carol, VII, 27. (This may 
be made the base of a very interesting afternoon. 
Parts of the story may be told briefly, parts may 
be read in full, parts recited and parts given as 
a dialogue. Thus the spirit of Christmas cheer 
and good will that animates this beautiful story 
may be communicated to the pupils in the 
pleasantest of ways and one that will be remem- 
bered. ) 

3. Christmas in the Old Time, Volume VII, 
page 150. 

IV. Birthdays. In the Index will be found 
the names of a number of great men and women 
of whom there are biographical sketches and from 
whose writings quotations have been made. Each 
of these may be made the subject of a general 
exercise at an appropriate time. 

V. Dramatization. Many a poem or story 
may be put into dramatic form with very little 
effort and thus furnish an exercise for several 
pupils at the same time. The descriptive parts 
may be read by a pupil not in the dialogue or may 
be omitted. In the latter case, acting may fill the 



196 Special Days in School 

void or the narrative may be made into con- 
versation between the characters. Some rear- 
rangement may be necessary and a little change 
in phraseology may be needed. Such adaptations 
the pupils may make themselves. The following 
scenes may be used by pupils of different ages: 

1. The description of the attack as given by 
Rebecca to Ivanhoe. (See The Attach on the 
Castle, Volume V, pages 3 to 18.) By costumes 
and good acting this may be made a very effective 
scene. 

2. A few boys will enjoy rendering the con- 
versational parts of The Heart of Bruce (Vol- 
ume VI, page 43) while a girl reads the de- 
scriptive lines of the ballad. 

3. By making some changes in the text and 
putting into direct discourse some of that which 
Dickens has written in indirect discourse, a 
capital Christmas sketch may be made from the 
Christmas doings at the Cratchit home. (See 
A Christmas Carol, Volume VII, pages 92 to 
101.) 

4. Limestone Broth (Volume VII, page 
271) can be made into a neat little humorous 
dialogue with very little change. 

5. Several scenes from The Tempest (Vol- 
ume IX, page 305) are suitable for school use. 

6. The Death of Caesar (Volume X, page 
75) is a fine dialogue and affords a good oppor- 
tunity for many speakers. 

7. The conversation between Luigi and his 
mother {Pip pa Passes, Volume X, pages 256- 
262) is a fine scene for school use, especially if 



Special Days in School 197 

Pippa really passes singing at the right moment. 
VI. An Oldfashioned Afternoon. Not so 
many years ago it was an almost universal custom 
to give over Friday afternoon to the "speaking 
of pieces." Occasionally even now a teacher 
wants one of the old-fashioned mixed programs 
and though she will prefer to make her own for 
each occasion, the following example will show 
one of the many that might be made from 
Journeys Through Bookland: 

1. Roll Call. ( Pupils respond with a memory 
gem from the hundred given elsewhere in this 
Manual. 

2. Song: America, Volume VIII, page 405. 

3. Wynken Blynken and Nod, I, 272. 

4. The Discontented Stonecutter, II, 14. 

5. The Land of Counterpane, I, 143. 

6. Song: Sweet and Low, VI, 372. 

7. Beowulf and Grendel (retold in brief), 
III, 478. 

8. Incident of the French Camp, IV, 324. 

9. Song: My Old Kentucky Home, VII, 
485. 

10. Echo, III, 408. (Let the answers of 
Echo be given by some one who is concealed from 
view of the audience. ) 

11. The First Snowfall, II, 443. 

12. Song: Home Sweet Home, VII, 6. 



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